论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 Evolution in the Form from the Buddhist Lattice Paintings to the Comic Paintings

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。随着佛教的东传,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就是其中最为典型的反映。本文则重在探讨克孜尔菱格画到敦煌连环形式故事画的演变过程,立足于两者在形式结构上所具有的内在联系,从风格形式分析入手,结合佛教和艺术的发展规律,试论这种"继承"和"发展"的演变结构。

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.In this paper,the writer emphasize on the investigation of the process of the transformation from the Lattice-narratice Paintings of Kizil to Comic-narrative Paintings in Mogao Grottoes.Meanwhile,to criticize the evolving configuration in ＂inheriting＂ and＂developing＂by pitching in the inherent relationship of the form and configuration between both of the two areas,as well as combining the laws of development of the both Buddhism and art.