敦煌绢画研究体系及近二十年研究综论  

A Study on the Methodology of Dunhuang Silk Painting Research,Accompanied by a Review of Its Development throughout the Past 20 Years

作　　者：肖浪 Xiao Lang

机构地区：[1]南方科技大学创新创意设计学院,广东深圳518055

出　　处：《艺术探索》2024年第3期47-53,共7页Arts Exploration

基　　金：2021年度国家社会科学基金重大项目“敦煌石窟文献释录与图文互证研究”(21&ZD218)子课题“敦煌石窟供养人题记释录与图文互证”。

摘　　要：早期敦煌绢画研究及敦煌学研究体系的建立、研究发展趋势差异均与敦煌文物散逸海外紧密相关,其中以斯坦因与英印收藏体系、伯希和与法藏体系、奥登堡与俄藏体系及早期日本敦煌学研究为主。进入21世纪,随着科学检测技术的进步及文物数字化的发展,对敦煌绢画的研究逐渐突破20世纪固有研究流程和研究方法的限制,呈现跨学科、多维度、广角度的趋势。敦煌绢画自身反映的历史现象、文化交流等内容更为学界所关注。同时,科学检测结果拓展了对敦煌绢画的认识,为传统人文研究中无法解决的问题提供了新的物质证据。Early research on Dunhuang silk paintings and the subsequent establishment of the Dunhuang Studies research system,as well as differences in research development trends,are all closely related to the dispersion of Dunhuang cultural relics overseas.Primary focus originally lay on the Stein and British-Indian collection systems,the Pelliot and French collection systems,the Oldenburg Russian collection system,and the early Japanese Dunhuang Studies.As we have entered the 21st century,advancement in scientific detection technology and the evolution of cultural heritage digitization have enabled research on Dunhuang silk paintings to overcome the limitations of the research processes and methods characteristic of the previous century.What transpires through these observations is the rise of interdisciplinary,multi-dimensional,and broad-angled research trends.The historical phenomena and cultural exchanges reflected in the Dunhuang silk paintings themselves have attracted more attention from the academic community.At the same time,the results of scientific detection have expanded our understanding of Dunhuang silk paintings and provided new material evidence for problems that could not be solved through traditional humanities research.

关 键 词：敦煌绢画 方法学 文明互鉴 文物保护 

分 类 号：K879.4[历史地理—考古学及博物馆学]