从印度到中国——“燃灯佛授记”图像异时同构中的叙事性  

From India to China:Narrative in the Image Heterogeneity and Isomorphism of the"Burning Lamp Buddha's Teachings"

作　　者：徐亚新 XU Yaxin

机构地区：[1]河北美术学院 [2]内蒙古民族文化艺术研究院

出　　处：《吐鲁番学研究》2024年第3期97-108,155,共13页Turfanological Research

基　　金：国家社会科学基金重大项目“敦煌河西石窟多语言壁题考古资料抢救性调查整理与研究”(项目批准号:22&ZD219)阶段性研究成果。

摘　　要：“燃灯佛授记”图像是印度、中亚、新疆等地美术史中重要母题之一,虽表现同一母题,但各地区再现图画时有明显的差异性,其构图表现是差异性之一。最常见的构图形式是“异时同图”式,即在单一框架内表现不同时间、不同地点的不同情节。同种构图形式下叙事方式不同,通常运用连续叙事、线性叙事、合并叙事等。每种叙事方式可看出画匠对于题材情节选择不同,人物搭配做出调整,故事母题加入画匠自由发挥成分,亦可以反应出资人想要呈现给观者不同的设计意图。文章以一种新的视角审视“燃灯佛授记”图像流传时产生的流变与各地区接受艺术形式、信仰角度、本土文化的关系。The image of"Burning Lamp Buddha's Lecture"is one of the important themes in the art history of India,Central Asia,Xinjiang and other regions.Although it represents the same theme,there are significant differences in the representation of the painting in different regions,and its composition expression is one of the differences.The most common form of composition is the"same picture at different times"style,which represents different plots at different times and places within a single framework.Under the same composition form,different narrative styles are usually used,such as continuous narrative,linear narrative,and merged narrative.Each narrative style reflects the artist's different choices of subject matter and plot,adjustments made to character combinations,and the artist's free expression of story themes.It also reflects the investor's desire to present dfferent design intentions to the viewer.The article examines from a new perspective the changes in the dissemination of the image of"Burning Lamp Buddha's Teachings"and the relationship between the acceptance of art forms,belief perspectives,and local cultures in various regions.

关 键 词：燃灯佛授记 柏孜克里克石窟 异时同构 叙事方式 

分 类 号：K86[历史地理—考古学及博物馆学]