敦煌西魏画风新诠——以莫高窟第285窟工匠及粉本问题为核心  

A New Interpretation of the Western Wei(535-556)Painting Style of the Mogao Grottoes——Focusing on the Artisans and Drafts of Cave 285

作　　者：张建宇[1] 

机构地区：[1]中国人民大学艺术学院暨佛教艺术研究所,北京100872

出　　处：《敦煌研究》2015年第2期4-14,共11页Dunhuang Research

摘　　要：北魏汉化改制带给佛教美术的影响,除人物形象("秀骨清像")和衣冠制度("褒衣博带")外,还表现为对山水场景的偏好以及空间再现技艺的渐趋成熟,因此是一次内在的"视觉方式"的转变;敦煌西魏壁画呈现出表现空间进深的初步尝试。共有三个工匠集团参与第285窟绘制:西壁由第一工匠集团完成,图像内容和画风具有强烈的西域风;第二工匠集团绘制东壁及北壁,尽管人物造型和服饰都采用汉化样式,但匠师未能理解中原画稿表现空间进深感的意图;绘制南壁的工匠集团真正掌握了再现三维场景的技巧。北周第290、296窟壁画与西魏第285窟南壁运用了相同的粉本,很可能出自同一工匠集团(或有传承关系的工匠集团)之手。The effect of sinicization during the Northern Wei dynasty （ 386-557） on Buddhist Art can be seen in the characters’ appearances, costumes and chapeaux as well as on the preference for landscape scenes and growing spatial representation skills, which can be regarded as an internally visual transition. Dunhuang murals during the Western Wei dynasty show an initial attempt to represent depth in space. Three groups of artisans participated in creating the murals of Mogao Cave 285. One group painted the west wall, which shows an obvious influence from the west both in content and style;the second group painted the north and east walls, which fails to represent depth of space, though the characters and dresses are of Chinese style; and the third group painted the south wall, which exhibits a mature technique of representing three-dimensional scenes. The drafts of caves 290 and 296 from the Northern Zhou dynasty （557-581） have the same origins as those of cave 285, suggesting they could probably have been made by the same artisans.

关 键 词：敦煌壁画 空间表现 汉化 粉本 

分 类 号：J218.6[艺术—美术]