敦煌莫高窟唐前期正卷立体化莲瓣纹样分析  

An Analysis of Three-Dimensional Patterns of Lotus Petals in the Dunhuang Mogao Grottoes from the Early Tang Dynasty

作　　者：高晏卿 GAO Yanqing(Graduate School of Comprehensive Human Sciences,University of Tsukuba,Ibaraki,Japan;College of Fine Arts&Design,Mudanjiang Normal College,Mudanjiang,Heilongjiang 157011)

机构地区：[1]筑波大学人间综合研究科,日本东京 [2]牡丹江师范学院美术与设计学院,黑龙江牡丹江157011

出　　处：《敦煌研究》2021年第4期59-71,共13页Dunhuang Research

基　　金：2017年度国家社科基金重大项目“汉传佛教僧众社会生活史”(17ZDA233);2019年度国家社科基金一般项目“陕北陇东北朝佛教石窟研究”(19BKG028)。

摘　　要：敦煌莫高窟所见正卷立体化莲瓣纹样,以前端作三分弧形且翘起为特征。这种纹样在唐高宗、武则天时期的两京地区极为流行,武周及其以后逐渐减少。而在唐前期的敦煌,正卷立体化莲瓣呈现与两京地区同步发展的态势,自唐前期第二期开始广泛使用,进入唐前期第三期后以瓣代花形式不再流行,多作为卷草中的花瓣或草叶表现。The three-dimensional patterns of lotus petals in the Mogao Caves are characterized by petals that turn up at the tops and are organized in successive arcs. This pattern was very popular in both Chang’an and Luoyang in the periods ruled by Emperor Gaozong and Empress Wu Zetian during the Tang dynasty and gradually declined after Wu Zetian’s period of reign. An identical process of development can be observed at the Mogao caves beginning in the second phase of the early Tang dynasty.Following this period, the form of using petals as an integral lotus flower declined in popularity and was replaced in the third phase of the early Tang dynasty by the petals or leaves of the flower being positioned at the center of curling vines.

关 键 词：敦煌莫高窟 宝相花 卷草 正卷立体化莲瓣 

分 类 号：K879.21[历史地理—考古学及博物馆学]