摘要
克孜尔石窟中的佛传图、本生图、交脚像、焰肩像、禅定像、化佛像,包含着典型的犍陀罗艺术元素,其画面组织、人物动态及表现手法都全部或部分地来源于犍陀罗艺术,然而又有着某些细微的变化。通过对克孜尔石窟壁画和犍陀罗浮雕图像的比对,找出犍陀罗艺术元素在克孜尔石窟中的嬗变与重建,考察克孜尔石窟在艺术汇流中的抉择,明确犍陀罗艺术的地位,并探讨图像转变背后的历史文化成因。最后,对犍陀罗艺术元素传入龟兹的路线和方式作出分析。
The paintings of Buddha＇s Life Stories, Buddha＇s Previous Incarnations, Buddha Maitreya with Legs Crossed, Flaming Shoulder Buddha, Meditation Buddha, Nirmana-Buddha in Kizil frescos contain typical Gandhara artistic elements. Their manners of organizations, patterns of characters and techniques of performances wholly or partially derived from Gandhara art with subtle modifications. By comparing Kizi｜ frescos and Gandhara engravings, we can find out the evolution of Gandhara artistic elements, investigate the choices made by Kizil, define the status of Gandhara art, and explore the historical and cultural causes of these image changes. At last, how Gandhara art was introduced to Kucha is analyzed.
出处
《北京理工大学学报（社会科学版）》
CSSCI
2011年第2期144-149,共6页
Journal of Beijing Institute of Technology：Social Sciences Edition
基金
上海大学第四届研究生创新基金资助项目"东西文化的汇流--龟兹石窟艺术元素研究"(SHUCX101113)
