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本資料由 UMI - Dissertations Publishing 1998, ProQuest Dissertations & Theses A&I 提供
| Style and Workshops in Ajanta Paintings | ||
| 作者 | Francoeur, Susanne (著) |
|---|---|
| 出處題名 | Dissertation Abstracts International |
| 卷期 | v.59 n.7 Section A |
| 出版日期 | 1998 |
| 出版者 | ProQuest LLC |
| 出版者網址 | https://www.proquest.com/ |
| 出版地 | Ann Arbor, MI, US [安娜堡, 密西根州, 美國] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 學位類別 | 博士 |
| 校院名稱 | Columbia University |
| 系所名稱 | Graduate School of Arts and Sciences |
| 指導教授 | Dehejia, Vidya |
| 畢業年度 | 1998 |
| 附註項 | 414p |
| 關鍵詞 | Cave Paintings; Indian Buddhism |
| 摘要 | The essential goal of this dissertation has been the determination of a coherent method of classifying the paintings of Ajanta by introducing a new explanatory model based on individual workshops centered around artists' families and guilds. Thus far no systematic analysis of the paintings has been published which is not linked to considerations of a long-term chronological development of the site. The method proposed herein has the advantage of avoiding the necessity of chronological assumptions. Instead it takes into consideration the itinerant artists and their impact on the considerable stylistic diversity apparent in the Ajanta murals. The analysis of the paintings focusses on caves I, II, XVI, and XVII and has led to the identification of eight workshops, each consisting of three to eight members. Each workshop was headed by a master artist working in a clearly defined style and who was responsible for a major part of a composition. The master artist was assisted by other members of the same workshop displaying varying degrees of expertise. Generally two or three workshops were active side by side in the same cave, each identifiable by a distinct style. Thus stylistic diversity at Ajanta is viewed as the result of the collaboration of numerous families of painters from various geographical areas and with different artistic backgrounds. The investigation of style includes also a study of the compositional schemes of the narratives depicted at the site. Several patterns of narration are analyzed. Emphasis is placed on the large-scale compositions which reveal particularly sophisticated schemes of narrative discourse. The thesis concludes with an analysis of the ceiling ornaments and proposes an interpretation of a cosmic vision based on the cakravala or single-world system. |
| 目次 | List of Illustrations iv Acknowledgments xiii Introduction 1 Chapter 1: The Inscriptions 8 Historical Context of the Vakataka Dynasty 9 Buddhist Donative Practices 14 Formal Dedicatory Inscriptions at Ajanta 14 Inscription of Varahadeva in Cave X V I 16 Inscription of Upendragupta in Cave XVII 20 Inscription of Buddhabhadra in Cave XXVI 23 Other Incised Inscriptions 24 Short Formulaic Inscriptions 27 Guidelines to Viewers and Artists 37 Interpretative Labels 38 Descriptive Labels 40 Guidelines for Artists 42 Chapter 2: Painting and the Painter in Ancient India 45 Existing Theories and Problems Concerning Classification of Styles 45 Selected Textual Sources and a Few Important Issues on Painting 57 Visnudharmottara 63 Six Limbs of Yasodhara 66 Citralaksana of Nagnajit 68 Principles in Painting Based on the Silpa Texts 70 Techniques of the Paintings 79 The Painter: Status and Organization 85 Chapter 3: Classification of Workshops and H an d s 100 Nanda Workshop A 105 The Conversion of Nanda 107 Scenes of the Life of Buddha 114 Jataka of the Bodhisattva as a Mute Cripple (Mukapangii) 115 Jdtaka Cycle 117 Yaksa 117 Sutasoma Workshop B 121 Sutasoma jataka 123 Visvantara Workshop C 128 Visvantara jataka 129 Simhala Workshop D 134 Simhala avadana 135 Sibi jataka 143 Battle of Indra 144 Great Miracle of SravastI 145 Kalodayin 146 Manusi Buddhas 147 Bodhisattva Workshop E 152 Two Large Bodhisattvas 155 Story of Mahosadha 159 Sibi jataka. Udrdyana avadana. King M ahasudarsana 160 Mahajanaka Workshop F 162 Mahajanaka jataka 163 Campcya jataka 166 Sahkhapdlajataka 167 Temptation of Mara 168 Vidhurapandita Workshop G 170 Vidhurapandila jataka 174 Plima avadana 178 Sibi jataka 179 Birth Workshop H 181 Birth of Buddha 182 Votaries 185 Related Styles in Other Caves 187 Cave X V I 187 Cave 1 188 Chapter 4: Narrative Schemes in Buddhist Tales 194 Pictorial Narratives: Principles of Storytelling 194 Functions and Forms 205 Patterns of Narration 214 Pendants: A Silent Sermon 217 Diachronic View: A Biography 222 Opposites and Anachrony: A Story of Good and Evil 225 A Voyage: Return to the Origin 232 Synoptic Vision: Towards the Symbolic 237 Chapter 5: Ornament in the Ceiling : Towards a Cosmological View... 249 Motifs 252 Geometric Motifs 253 Organic Motifs 254 Plants 254 Animals 256 Anthropomorphic Figures 258Composition 264 Ceiling as Architectural Boundary 264 Ceiling as a Buddhist Cosmological Vision 266 Conclusion 278 Selected Bibliography 282 Appendix: Tabulation of the paintings at Ajanta in relation to Spink's Dating. 302 Illustrations 307 |
| ISBN | 9780591926996; 0591926997 |
| 點閱次數 | 202 |
| 建檔日期 | 1999.10.26 |
| 更新日期 | 2022.03.31 |
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