从西魏第249窟龙凤驾车图像论敦煌艺术的模仿性  

On the Imitativeness of Dunhuang Art Based on the Phoenix-Drawn and Dragon-Drawn Chariots Depicted in Mogao Cave 249

作　　者：胡同庆[1] 

机构地区：[1]兰州城市学院当代敦煌文化艺术创意研究中心,甘肃兰州730070

出　　处：《敦煌研究》2014年第4期23-29,共7页Dunhuang Research

摘　　要：本文通过对莫高窟西魏第249窟龙凤驾车图像的研究,认为不仅龙凤驾车图像之间存在着模仿性,同时敦煌艺术中也普遍存在着模仿性。本文分析了这种模仿性的理论依据和实用性,认为大量的模仿不仅有利于佛教的宣传和弘扬,还为敦煌艺术的保存提供了条件,而模仿过程中的差异性也为艺术创新创造了条件。A study on the images of the dragon-drawn and phoenix-drawn chariots in Mogao cave 249 of the Western Wei dynasty suggests that imitativeness not only exists between images of the dragon-drawn and phoenix-drawn chariots, but can also be found extensively in Dunhuang art. By analyzing the theoretical evidence and practicality of the imitativeness, this paper considers that such imitation could both promote Buddhism and provide conditions for the preservation of Dunhuang art. Further, the discrepancy that appears during imitation could prove helpful to artistic innovation.

关 键 词：第249窟 龙凤驾车 敦煌艺术 模仿性 

分 类 号：K879.4[历史地理—考古学及博物馆学]