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| 現狀的釋讀與轉譯 - 克孜爾第14窟佛龕想象復原=Recovering the Creative Imagination of the Niche in Cave 14 at Kizil through Interpretation and Translation | ||
| 作者 | 何韻旺 (著)=He, Yun-wang (au.) |
|---|---|
| 出處題名 | 敦煌研究=Dunhuang Research |
| 卷期 | n.3 (總號=n.181) |
| 出版日期 | 2020 |
| 頁次 | 120 - 128 |
| 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：廣州美術學院中國畫學院 |
| 關鍵詞 | 佛龕=Buddhist niches; 材料=materials; 想象復原=recovery of creative imagination |
| 摘要 | 克孜爾石窟佛龕中的佛像幾乎無存,這在視覺上削弱了佛龕空間的神聖性,並且多數佛龕內部未繪制壁畫而使用錫箔裝飾,由於氧化、剝落嚴重,使得佛龕的研究長期被忽視。主室正壁佛龕作為供奉佛像的特殊場域,佛像處於石窟中央最顯耀的位置並與入口相對而坐,是禮拜者從現實世界進入石窟"聖域"時最先發生的觀看行為。在"唯禮釋迦"的克孜爾地區,佛龕當初的視覺效果對於壁畫材料技法及美術史研究具有重要的參考價值。 Almost no Buddha statues survive today in the niches in the Kizil Grottoes, which severely weakens the atmosphere of sanctity of the niche spaces. Instead, the interior of most niches are now decorated with tinfoil instead of murals. Moreover, the study of these niches has been neglected for a long time due to heavy oxidation and exfoliation in the interior of the grottoes. As a special place for worshiping Buddha statues, the niche in the main chamber of Buddhist grottoes is particularly significant visually because it is located directly opposite to the entrance, making this the first focal point for worshippers as they enter the cave. In the Kizil area where "only Sakyamuni Buddha was worshipped", the murals and decoration of these central niches is extremely valuable for studying mural materials, artistic techniques, and art history. |
| 目次 | 引言 121 一 佛龕與石窟構造的關聯 121 二 佛龕主題與造型化表現 122 三 史料中的帝釋窟描寫 123 四 佛龕的裝飾材料與表現主題 124 結語———今後的課題 127 |
| ISSN | 10004106 (P) |
| 點閱次數 | 159 |
| 建檔日期 | 2020.11.11 |
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