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本資料由 李玉珉老師 提供
| 從北魏永安二年張曇祐等造像上的線刻畫看石刻線畫的發展 | ||
| 作者 | 趙超 |
|---|---|
| 出處題名 | 考古與文物=Archaeology and Cultural Relics |
| 卷期 | n.6 |
| 出版日期 | 2010.12 |
| 頁次 | 73 - 78 |
| 出版者 | 陜西省考古研究所 |
| 出版地 | 西安, 中國 [Xi'an, China] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 附註項 | 作者單位：中國社會科學院考古研究所 |
| 關鍵詞 | 石刻線畫=Stone line-engraved portrait; 密體=Miti (dense bodies); 疏體=Shuti (sparse styles); 北魏青州佛教造像=Buddhist statue from Qingzhou in the Northern Wei Dynasty |
| 摘要 | 本文通過造像式樣與題記內容的分析判定了一件未曾介紹過的青州北魏造像。並且就該造像上精美的線刻供養人畫像，結合漢代至北朝末年期間的其他石刻線畫，探討了中國古代石刻線畫與繪畫線描技術的發展變化過程。通過這件罕見的造像線刻畫，可以證實六朝畫風從密體向疏體演變這一重大變化，反映了南朝畫風對北朝造像的深刻影響，表現出當時南北文化、經濟的密切往來交流。 Through integrating the analyses of styles and inscriptions, this article argues that a stone statue from Qingzhou (state) which has not been published previously should be dated to the Northern Wei Dynasty. Besides, by combining the delicate engraved donors' portraits on this status and other line-engraved motifs from the Han Dynasty to the end of Northern Dynasties, the development of Chinese ancient stone line-engraved portraits and line-drawing paintings is explored. Rarely seen portraits on this statue demonstrates a significant change from "miti" to "shuti" on the painting style during the Six Dynasties, and profound influences from the painting styles of the Southern Dynasties on the characteristics of statues. On the other hand, such phenomena indicate frequent interactions and communications in terms of culture and economy between the North and South. |
| ISSN | 10007830 (P) |
| 研究類別 | 文物維護 |
| 研究時代 | 南北朝-北朝-北魏 |
| 研究地點 | 山東(青州) |
| 點閱次數 | 322 |
| 建檔日期 | 2016.05.12 |
| 更新日期 | 2019.10.17 |
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