龟兹石窟王族供养人像的形式与意义——以踮脚尖的形象为例  

The Form and Significance of the Portrait of the King's Donors in the Grottoes of Kucha一Take the Image of Tiptoeing as an Example

作　　者：祁晓庆[1] Qi Xiaoqing

机构地区：[1]敦煌研究院

出　　处：《西夏研究》2023年第2期105-113,共9页Xixia Research

基　　金：国家社会科学基金西部项目“敦煌石窟中的外来元素与中西文化交融研究”(项目批准号:21XZS011)的阶段性研究成果。

摘　　要：新疆龟兹石窟壁画中保存下来的6—7世纪时期的王族供养人像,呈现出“模式化”的服饰和面貌特征,尤其是“脚尖站立”姿态和多人并排站立的图式结构,与伊朗和中亚艺术有极大渊源。其表现形式与龟兹王族身份的构建、宗教礼仪以及人们的观看习惯和审美观念有关。The preserved 6th to 7th century portraits of royal supporters from the Qiuci Caves in Xinjiang show a“patterned”costume and appearance,especially the“standing on tiptoe”pos-ture and the pictorial structure of multiple figures standing side by side,which have a strong con-nection with Iranian and Central Asian art.The origin of the art of Iran and Central Asia the forms of expression are related to the construction of royal identity,religious rituals,and the view-ing habits and aesthetic concepts of the people of Qiuci.

关 键 词：供养人像 踮起脚尖 伊朗 中亚 礼仪 

分 类 号：K879.41[历史地理—考古学及博物馆学]