隋朝时期敦煌壁画中山石的造型研究  

Study on the Shape of Rocks in Dunhuang Murals during the Sui Dynasty

作　　者：罗江玫[1] 余林 Luo Jiangmei;Yu Lin(Chongqing Normal University,Chongqing 401331,China)

机构地区：[1]重庆师范大学,重庆401331

出　　处：《艺术与设计（理论版）》2022年第8期122-124,共3页Art and Design

摘　　要：隋文帝灭陈以后,南北政治形成了统一,文化艺术也走向了更加繁荣的阶段。文章选取了4个隋朝时期莫高窟里具有代表性的洞窟,隋代莫高窟第420窟《法华经·序品》出现的灵鹫山、《法华经·观世音菩萨普门品》的耸立式山峰造型,第276窟尊像画两侧封边式山石造型、第303窟《山林图》的山石、第423窟《须达拏太子本生》的多角型山峦,通过对这4个洞窟的研究,隋朝莫高窟壁画里的山石造型不仅继承了隋以前的装饰性风格,同时也受到中原地区的山石造型的影响,在此基础上继续发展,为后世的山石造型发展奠定了一些基础。After Emperor Wen of the Sui Dynasty destroyed Chen, the north and south politics formed a unity, and the culture and art also went to a more prosperous stage.In this paper, four representative caves in the Mogao Grottoes of the Sui Dynasty were selected, In the Mogao Grottoes of the Sui Dynasty, the Cave 420, and The Dharma Hua Sutra·Avalokitesvara Bodhisattva, The statue of Cave 276 covers the edge style rock on both sides of the painting, the rock of the Cave 303 Forest Map, and the polymountain of Shuda Prince Ben in Cave 423, Through the study of these 4 caves, The rock style in the murals in the Mogao Grottoes of the Sui Dynasty not only inherited the decorative style of before the Sui Dynasty, At the same time, it is also influenced by the shape of the rocks in the Central Plains, Continue to develop on this basis, It has laid some foundation for the development of the mountain and stone shape in the later generations.

关 键 词：隋朝 敦煌壁画 山石造型 

分 类 号：J04[艺术—艺术理论]