蜀地佛教版画在五代宋初敦煌的传播  

The Dissemination of Shu Buddhist Printmaking in Dunhuang during the Five Dynasties and Early Song Dynasty

作　　者：胡发强 马德[1,3] Hu Faqiang;Ma De

机构地区：[1]兰州大学敦煌学研究所 [2]苏州工艺美术职业技术学院 [3]敦煌研究院

出　　处：《艺术设计研究》2024年第1期27-35,共9页Art & Design Research

基　　金：国家社科基金重大项目“丝绸之路中外工匠文化交流史料整理与研究”(项目编号:22&ZD227)的阶段性成果。

摘　　要：敦煌莫高窟藏经洞出土的版画主要以佛教题材为主,其中有阿弥陀佛、文殊、观自在和地藏菩萨像,以及太平兴国五年(980)刻印的《大随求陀罗尼》版画,反映了佛教民间信仰的本土化和民族化特征,是五代宋初蜀地佛教版画艺术的珍贵实物见证。这不仅开启了版画作为独立创新画种的历史进程,奠定了我国古代版画艺术的雕镌、填色及上图下文等民族样式;而且带来了全新的佛教民间信仰模式、佛教题材和图像特征,为敦煌石窟艺术的发展注入了新鲜血液,成为当代人重新审视唐宋版画艺术在丝绸之路上传播的鲜活个案。The prints unearthed from the Sutra Cave in the Mogao Grottoes of Dunhuang are mainly Buddhist themes.Among them,there are statues of Amitabha Buddha,Manjushri,Guanzizi,and Dizang Bodhisattva,as well as the printmaking of"Da Sui Qiu Dalani"engraved in the fifth year of the Taiping Xingguo reign(980),which reflects the localization and nationalization characteristics of Buddhist folk beliefs and is a precious physical witness to the Buddhist printmaking art in the early Song Dynasty of the Five Dynasties.This not only initiated the historical process of the development of printmaking as an independent and innovative art form,but also laid the foundation for the carving,coloring,and ethnic styles of ancient printmaking art in China;Moreover,it has brought new Buddhist folk be-lief models,Buddhist themes,and image features,injecting fresh blood into the development of Dunhuang grotto art,and becoming a vivid case for contemporary people to re-examine the dissemination of Tang and Song printmaking art on the Silk Road.

关 键 词：敦煌版画 蜀地 创新画种 传播 

分 类 号：J18[艺术—艺术理论]