隋及唐初敦煌艺术对外来影响的吸收与创新  

The Integration of Foreign Influences in Dunhuang Art during the Sui and Early Tang Dynasties

作　　者：赵声良[1] ZHAO Shengliang(Dunhuang Academy,Dunhuang 736200,Gansu)

机构地区：[1]敦煌研究院,甘肃敦煌736200

出　　处：《敦煌研究》2024年第3期1-9,共9页Dunhuang Research

基　　金：国家社会科学基金艺术学重点项目“敦煌唐朝石窟美术史研究”(23AF012)。

摘　　要：敦煌隋代彩塑受到印度笈多艺术风格的影响,及至唐代,彩塑已形成了中国式的表现手法与风格,既保持了雕塑的写实性,又体现出气韵生动的精神。壁画也同样,隋至唐初的人物造型中,常常出现典型的印度风格晕染法,比起北朝壁画更接近印度绘画的特点,表明当时确有一部分画家擅长画外来风格。但随着唐前期艺术的发展,画家们对外来晕染法不断改造,使之与传统的线描进行了完美的结合。从壁画的装饰图案中,我们也可看到对外来艺术的改造,如隋至唐初流行的联珠纹、石榴纹、葡萄纹等纹样在不断地被吸收改造,最后都融入了形态更为丰富的卷草纹中。Many of the painted statues from the Sui dynasty at Dunhuang were influenced by the Indian Gupta style of art.By the beginning of the Tang dynasty,Chinese artistic techniques in statuary and painting had formed a cogent style with recognizable characteristics that maintained a realism of depiction while also reflecting avivid spirit of vitality.One notable feature of artwork from this period was a haloing technique typical of Indian art that was often used to illustrate figures during the Sui and early Tang dynasties;compared to murals from the Northern Dynasties,this method is more similar to Indian painting.This indicates that many painters at the time were already well-studied in foreign styles of painting.However,as Chinese art continued to develop throughout the early Tang dynasty,artists continuously modified the haloing technique until it was perfectly combined with traditional Chinese line drawing.From the decorative patterns in the murals of this period,we can also see the transformation of various other foreign artistic tropes,including patterns of linked pearls,pomegranates,and grapes.By the middle of the Tang dynasty,several artistic methods and themes from other countries had been fully integrated into the diverse patterns of Tang dynasty religious art.

关 键 词：敦煌艺术 隋唐 印度 中原 晕染法 

分 类 号：K879.21[历史地理—考古学及博物馆学]