摘要
如何解释宗教艺术品,如何面对石窟艺术,一直是美术史家不能回避的问题。由此产生的一个现象就是过度阐释,其结果是令观众像欣赏美术品一样赞叹古老的宗教作品。这是一种误读,误读导致误解。精美的克孜尔壁画、敦煌壁画和诸多石窟造像遗存,等待人们重建当年的精神家园。如今人潮涌动的敦煌,让国内外参观者借着一柱柱灯光,在幽暗的窟内惊叹或隐或现的佛菩萨之美。假如没有美术史和美术史家,"宗教艺术"是不是另一种叙述状态?
How to interpret religious art and how to look at Buddhist cave art are important questions for modern art historians. One problem is over-interpretation, which leads the viewers to appreciate ancient religious works as if they are art works. Such a misinterpretation results in misunderstanding. The beautiful mural paintings in caves at Kizil and Dunhuang and numerous relics of cave sculptures are waiting for a spiritual representation. Today, in the crowded Dunhuang caves, international visitors marvel at the beauty of Buddha and bodhisattvas by dim light. Without art history or art historians, shall "religious art" be narrated differently?
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2012年第2期86-100,共15页
Journal of National Museum of China
关键词
十一面观音变相
敦煌
盂兰盆节
阐释
Painting of Eleven-faced Guanyin
Dunhuang
Ullambana
interpretation