佛教菱格画到连环画形式的演变——以克孜尔和莫高窟的故事画为例

The Discourse of the Evolution in the Form from the Buddhist Lattice Paintings to the Comic Paintings——taking the Narrative Paintings between the Kizil and Mogao Grottoes as Examples

佛教由丝绸之路传入中国,在新疆克孜尔等地石窟寺留下了丰富的、以菱格画为主的佛教壁画艺术。随着佛教东传,这种菱格形式的故事画发生了演变,敦煌莫高窟的连环形式故事画是其中最为典型的反映。这个演变过程是佛教在中国发展的必然选择。佛教主流思想的转变使得创作者对故事画须重新规划和构思,更好地适应壁面的有限空间。

As the introduction of Buddhism from India through the Silk Route, the abundant Buddhist Mural Art based on the Lattice paintings are remained in both grottoes and temples located in areas like Sinkiang(Xinjiang) and etc. With the transferring eastwards of the Buddhist, the Lattice-narrative paintings became evolved and developed, moreover, one could say that it is the comic-narrative Painting of Mogao Grottoes in Dunhuang that plays the most typical role in reflecting this kind of evolution and development. The evolution process was the inevitable choice. The main thought of Buddhist has transformed that made the painters to re-plan and re-design the narrative paintings to meet the limitation of the wall.