 |
|
| 敦煌莫高窟壁畫中的髡發人物=On the Figures with “Kun” Hair Styles in the Mogao Murals at Dunhuang | ||
| 作者 | 李金娟 (著)=Li Jinjuan (au.) |
|---|---|
| 出處題名 | 敦煌研究=Dunhuang Research |
| 卷期 | n.1 (總號=n.167) |
| 出版日期 | 2018 |
| 頁次 | 107 - 112 |
| 出版者 | 敦煌研究編輯部 |
| 出版者網址 | http://www.dha.ac.cn/ |
| 出版地 | 蘭州, 中國 [Lanzhou, 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：蘭州大學藝術學院副教授 |
| 關鍵詞 | 髡發= "Kun" Hair style; 敦煌石窟=Dunhuang caves; 佛教藝術=Buddhist art; 遼墓壁畫=Liao tomb painting |
| 摘要 | 髡發是將頭頂頭發剃光、留周圍頭發的一種發式,是北方少數民族的傳統發式,可遠溯至春秋戰國時期。佛教雖然來自印度,但敦煌莫高窟第285窟、第346窟、第97窟等洞窟中可以看到若干髡發人物,反映了佛教藝術在流傳過程中對當地和周邊民族風俗習慣的吸納,是佛教中國化的體現。 "Kun" is a type of hairstyle for men who only shave the top of their heads and keep the hair surrounding the crown. As a traditional hair style of nomadic ethnic groups in north China, this kind of hair style can be traced as far back as the Spring and Autumn and the Warring States periods. Although Buddhism arrived in China from India, many paintings of Dunhuang caves show figures with the "Kun" hairstyle, such as those in caves 285, 97, and 346. This demonstrates how Buddhism absorbed the customs of local ethnic groups as it was disseminated eastwards, indicating in turn how Buddhism was Sinicized. |
| 目次 | 一 第285窟髡發飛天 107 二 第346窟髡發射手 108 三 第97窟髡發飛天 111 四 莫高窟髡發人物畫的意義 112 |
| ISSN | 10004106 (P) |
| 點閱次數 | 338 |
| 建檔日期 | 2020.10.21 |
建議您使用 Chrome, Firefox, Safari(Mac) 瀏覽器能獲得較好的檢索效果，IE不支援本檢索系統。
