敦煌供养人画像的源流及其反映的文化融合  

The Origin of Patron Portraits in Dunhuang and the Cultural Integration Reflected by It

作　　者：郑怡楠[1] 郑炳林[2] Zheng Yinan;Zheng Binglin(the Palace Museum;Institute of Dunhuang Studies,Lanzhou University)

机构地区：[1]故宫博物院 [2]兰州大学敦煌学研究所

出　　处：《美术》2025年第2期102-109,共8页Art Magazine

摘　　要：敦煌石窟供养人图像源自邈真像。邈真像属于中国传统人物画,其起源很早,在两汉的文献中一般记作“图画形像”,西晋时称之为“素真形”,到唐代才出现“邈真”二字。西汉时期形成的像与赞相结合的形式一直影响到晚唐五代,敦煌写本邈真赞就是这种形式的延续。本文从邈真像起源、汉唐邈真像演变、邈真像与供养人画像的关系、供养人画像的与敦煌石窟功能的转变等方面探讨敦煌艺术的多元文化融合特征。The patron portraits in grottoes of Dunhuang originated from miaozhen portraits,a kind of traditional Chinese figure painting with a time-honored history.It was recorded as "figure depiction(tuhua xingxiang)" in documents of the Han Dynasty,and was called "simple,real image(suzhenxing)" in the Western Jin Dynasty The word "miaozhen" did not appear until the Tang Dynasty.The portrait and praise form that formed during the Western Han Dynasty had a long-term influence that lasted until the late Tang Dynasty and the Five Dynasties and Ten Kingdoms period.The miaozhen praise in Dunhuang was a continuation of this form.This article explores the characteristics of Dunhuang art in the integration of various cultures from the aspects of the origin of the miaozhen portrait,its evolution during the Han and Tang Dynasties,the relationship between the miaozhen portrait and the patron portrait,and the change of functions of the patron portrait and grottoes in Dunhuang.

关 键 词：莫高窟 供养人像 邈真像 邈真赞 

分 类 号：K879.41[历史地理—考古学及博物馆学]