敦煌北凉三窟壁画的西域风格及本土化研究

Murals in Three Northern Liang Caves at Dunhuang: Influence of the Western Regions and Local Style

文章从美术学的角度分析了北凉时期莫高窟壁画的来源、风格及在整个敦煌艺术中的地位。从来源上说,北凉壁画在很大程度上与周边地区更早更成熟的石窟壁画有密切关系,如吐峪沟壁画、天梯山石窟壁画以及更遥远的西域壁画。作为起始阶段,北凉壁画的主要任务是完善其内容和形式。在禅学的共同主题下,北凉敦煌壁画从以下几个方面进行了吸收和借鉴:一是表现禅学思想的绘画题材,二是西域样式的人物形象,三是以"凹凸法"为主的表现手法。同时,北凉壁画并没有照搬其他壁画,而是形成了自己的样式,主要表现在以下几个方面:一是洞窟壁画的布局,二是千佛在壁画中的地位,三是菩萨审美风格的确立。它们奠定了敦煌壁画的基本框架和风格,也是敦煌壁画本土化进程的基础。

From an artistic point of view, the author elaborates on the source, style and significance of mural paintings of the Northern Liang period in the Mogao Grottoes. The Northern Liang murals show close connections with earlier and more mature cave murals from neighbouring areas such as Tuyugou and Tiantishan and even mural paintings from the Western Regions. The theme and form of Dunhuang mural paintings were improved during the Northern Liang, as can be embodied in their Chan theme, figures in the Western Regions style and the aotu painting technique. Instead of copying the other murals, the Northern Liang mural paintings have distinct stylistic features in the layout, the importance of the thousand Buddhas and the artistic style ofbodhisattvas. The Northern Liang mural paintings created the basic style of Dunhuang art and pioneered in its localization.