在“敦煌莫高窟专题研讨会”上的总结发言  

Cave Temples of Dunhuang: History, Art,and Materiality Concluding Remarks

作　　者：罗泰 王平先[2] Lothar yon FALKENHAUSEN Trans. WANG Pingxian(Cotsen Institute of Archaeology, UCLA, Los Angles, USA Editorial Department, Dunhuang Academy, Lanzhou, Gansu 730000)

机构地区：[1]加州大学洛杉矶分校扣岑考古学研究所 [2]敦煌研究院编辑部,甘肃兰州730000

出　　处：《敦煌研究》2016年第5期28-30,共3页Dunhuang Research

摘　　要：本文是作者在"敦煌莫高窟专题研讨会"上的总结发言。作为考古学者,他认为现有的考古证据表明,莫高窟在结构、功能上,与印度及中国新疆石窟有所不同,但是与中原豪强多墓室的墓葬壁画更为相似。在这一点上,作者赞同与会学者沙尔夫教授与索尼娅·李及汪悦进等人的观点:即便是非常明显的叙事性壁画,其彩绘装饰也不一定是说教性的;敦煌莫高窟的造像本质上是用来自我表现的,与汉代墓室中的壁画装饰非常相似。This paper presents the concluding remarks spoken by the author of ＂ Cave Temples at Dunhuang： History, Art and Materiality.＂ As an archaeologist, the author regards that throughout its recorded history Dunhuang remained the westernmost instance of a full-fledged, mainstream Han-Chinese community. In accord with Professor Scharf＇s thinking, the Mogao Grottoes site can thus be understood to more closely resemble the multi-chambered tombs of the elite that emerged in the Chinese heartland during the Han period, the planning and building techniques of which would be used under subsequent dynasties for centuries. The author agrees with Professor Sonya Lee and Professor Eugene Wang＇s ideas that the painted decoration, even when ostensibly narrative, was not necessarily meant to be didactic, and especially with Professor Wang＇s idea that the iconography was essentially designed to perform itself, very much in parallel with the painted décor of Chinese chamber tombs.

关 键 词：敦煌莫高窟 墓葬壁画 石窟壁画 藏经洞 

分 类 号：K879.21[历史地理—考古学及博物馆学]