莫高窟隋代故事画布局中“乱石铺街”的审美意象  

The Aesthetic Imagery of"Streets Paved with Stones"in the Layout of Sui Dynasty Story Paintings inMogaoGrottoes

作　　者：阎小龙 YAN Xiaolong

机构地区：[1]敦煌研究院,敦煌736200 [2]西北师范大学,兰州730070

出　　处：《上海视觉》2024年第4期96-104,共9页Shanghai Vision

基　　金：2022年甘肃省文物保护科学和技术研究课题“莫高窟隋至盛唐壁画艺术的审美特征研究”(GSWW202204)。

摘　　要：敦煌莫高窟隋代故事画的空间布局,一方面承续前朝分段长卷式布局,同时又不断尝试和创新,不断突破分段界线,画面空间被山水、树木、建筑、榜题框等图像媒介分隔成形状各异、大小不一、错落揖让的相对独立的空间,形成了“乱石铺街”的审美意象,与古代书法中字形和章法的审美要求有相通之处。莫高窟隋代故事画布局中“乱石铺街”的审美意象是在本土审美情趣和鉴赏思维中逐步产生的,是中国古代绘画中特有的并有别于西方绘画布局的审美特征,也是中国古代艺术史与美学史中的重要内容。The spatial layout of the Sui Dynasty story paintings at Dunhuang Mogao Grottoes,on the one hand,continued the segmented long-scroll style of the previous dynas-ties,and on the other hand,constantly tried new things and innovated,constantly breaking through the boundaries of segments,and the picture space was divided into independent spaces of various shapes,sizes,and arrangements by image mediators such as mountains,trees,buildings,and inscription frames,forming the aesthetic metaphor of"streets paved with stones"This metaphor is similar to the aesthetic requirements of ancient Chinese callig-raphy and layout.The aesthetic metaphor of"streets paved with stones"in the spatial layout of Sui Dynasty story paintings at Dunhuang Mogao Grottoes was gradually produced in the local aesthetic taste and aesthetic thinking,and is a unique aesthetic feature of ancient Chinese painting that is different from Western painting layout,and is also an important con-tent in the history of Chinese art and aesthetics.

关 键 词：故事画 布局 乱石铺街 审美意象 

分 类 号：K879.4[历史地理—考古学及博物馆学] J205[历史地理—历史学]