敦煌早期三窟及湿壁画技法——《敦煌石窟全集》第一卷《莫高窟第266～275窟考古报告》编后  

The Three Earliest Caves of Dunhuang and Fresco Technique——After Having Compiled the Archaeological Report on Mogao Caves 266～275,the fist volume of the Collected Works of Dunhuang Caves

作　　者：黄文昆 

机构地区：[1]文物出版社,北京100007

出　　处：《敦煌研究》2017年第5期1-11,共11页Dunhuang Research

摘　　要：《敦煌石窟全集》第一卷《莫高窟第266~275窟考古报告》于2011年出版,揭开了敦煌石窟研究的新篇章。书中敦煌早期三窟——莫高窟第268、272、275窟,是学界公认敦煌现存最早的石窟寺遗迹。"敦煌地接西域",西北印度和中亚的弥勒信仰在三窟得到纯粹而完备的图像学表现。三窟的具体年代迄无定论,不同的意见及窟内复杂情况须深入探讨。早期三窟美术品的制作技法值得注意。敦煌早期壁画至少在绘制开始的步骤,应该是使用了湿壁画的方法。The publication of the Archaeological Report on Mogao Caves 266-275, the first volume of the Collected Words of Dunhuang Caves, has started a new chapter on Dunhuang cave research. The three earliest caves in this book, namely caves 268, 272 and 275, are generally considered to be the earliest remains of cave temples in China. It is said that ＂ Dunhuang meets the Western Regions;＂ complete, immaculate images from the Maitreya belief of Northwest India and Central Asia can be seen in the three caves. There is no final consensus about the exact date of the three caves so far, and different opinions and the complicated interior conditions of the caves have to be discussed in depth before any further conclusions can be made. The technique of the artworks in the three caves is noteworthy, however, these early murals of Dunhuang applied an interesting fresco-like technique, at least in the first painting procedures.

关 键 词：石窟考古报告 敦煌早期三窟 弥勒信仰 湿壁画 

分 类 号：J218.6[艺术—美术] K879.21[历史地理—考古学及博物馆学]