浅析柏孜克里克石窟回鹘佛教壁画的艺术特色及渊源

An Analysis of the Artistic Features and Origins of the Uygur Buddhist Murals in the Bezeklik Caves

在9世纪晚期到10世纪初期,回鹘其中一支部族到达吐鲁番,以高昌为中心建立回鹘高昌王国,并归依了当地盛行的佛教,柏孜克里克成为回鹘高昌王国的王家寺院。作为丝绸之路上重要的交通枢纽和贸易集散地,高昌王国经济繁荣,国势强盛,佛教发展达到鼎盛之时,尤其此时的誓愿画数量众多、规模宏大、色彩绚丽,是高昌回鹘佛教艺术的典型代表。文章以柏孜克里克石窟回鹘时期壁画为研究对象,分析其艺术特色以及历史渊源,高昌回鹘时期壁画兼收并蓄了丝绸之路沿线多种艺术营养,又根植于深厚的本土文化底蕴,形成了独特的、具有中国地方民族特色的高昌回鹘佛教艺术,彰显了历史上中国各民族审美理念和艺术风格。

From the late 9th century to the early 10th century,one of the tribes arrived in Turpan and built the Gaochang kingdom back with Gaochang as the center.It was also converted to the popular Buddhism in the area.The Bezeklik Caves became the kingdom of Gaochang King's Temple.As an important transportation hub and trading center on the Silk Road,the Kingdom of Gaochang enjoys a prosperous economy and a strong national power.When the development of Buddhism reaches its peak,the Murals of Vows at this time are numerous,large-scale,and colorful.They are representative examples of Gaochang's Uygur Buddhist art.This article takes the frescoes of the Bezeklik caves as the research object,analyzes their artistic features and the historical origins of their formation.Reproducing the mural paintings of the Gaochang period was an eclectic blend of various arts and nutrition along the Silk Road,and it is also deeply rooted in the local community.The cultural heritage has formed a unique Gaochang Uygur Buddhist art with Chinese local ethnic characteristics,highlighting the aesthetic concepts and artistic styles of Chinese nationalities in history.