地域文化视角下佛教壁画图示流变研究——以克孜尔与莫高窟本生故事壁画为例

• 作者： 卯旭虎 ¹⁴⁰⁴³ 孙玲玲 ¹⁰³⁶³
• 作者单位：
  1.  四川文化艺术学院美术设计学院

  2.  安徽工程大学艺术学院
• 提交时间：2024-07-03

摘要: 本生故事画是佛教美术最为重要的部分，以其为题材的作品广为流布。各区域的本生故事画表现出艺术形式的差异性，这些差异性是因不同地域文化主导所致。本文通过剖析不同地域文化影响下本生故事壁画的图像及构图形式，深挖本生故事图式流变的影响因素，以期清晰认识本生故事画在传播流布过程中与本土文化融合的基本样貌，同时分析本生故事画为融入本土文化做出了哪些改变。克孜尔石窟与莫高窟是地域文化的优秀代表，也是对佛教本生故事具有艺术生命力的诠释，本文以二者为主要研究对象。

Abstract: The subject matter of Jātaka story painting, as a pivotal aspect of Buddhist art, enjoys widespread circulation. The consistency of thematic elements across different regions reflects varying artistic expressions. What factors influence the different artistic forms of Jātaka storytelling across different regions? By analyzing the imagery and compositional styles of Jātaka story murals in various regions, we can delve deeply into the factors shaping the transformation of these compositions. This endeavor not only elucidates the fundamental trajectory of Jātaka story painting’s assimilation into local cultures during dissemination but also enables us to grasp the adaptations made by these paintings to integrate into local cultural contexts. The examination of compositional changes in original stories and murals at the Kizil Grottoes and Mogao Grottoes is not only a demonstration of regional cultural significance but also an interpretation of the artistic vitality inherent in Buddhist narratives. It stands as an essential subject for research.

• 分类： 艺术学 >> 美术与书法
• 稿件状态： 已被期刊录用
• 引用： PSSXiv:202407.00131 (或此版本 PSSXiv:202407.00131V1)
  DOI:10.12451/202407.00131
  CSTR:32012.36.PSSXiv.202407.00131
• 推荐引用方式： 卯旭虎,孙玲玲.地域文化视角下佛教壁画图示流变研究——以克孜尔与莫高窟本生故事壁画为例.哲学社会科学预印本平台:https://zsyyb.cn/abs/202407.00131.[PSSXiv:202407.00131V1] (点此复制)