【摘要】：自貞觀十六年(642)題記的第220窟開始,敦煌莫高窟中的唐代西方凈土表現(xiàn)一改此前的畫面中央繪樹下說法圖并在四周環(huán)繞千佛的形式,而利用大畫面(整幅壁面)來表現(xiàn)西方凈土景象的形式逐漸成為主流。唐前期第三期時,西方凈土變的外圍還增加了十六觀和未生怨,來對《觀無量壽經(jīng)》進行詳盡說明。其他變相圖中也能看到這種對經(jīng)典進行說明性表現(xiàn)的傾向,因此,可以說從唐前期第三期開始,變相圖的性質(zhì)發(fā)生了改變。本文旨在探明自唐前期第二期出現(xiàn)的大畫面西方凈土變,其構圖在第三、四期時分別發(fā)生了何種變化,并考察成因,以此深化對敦煌莫高窟唐前期諸窟的理解。
[Abstract]:Beginning with Cave 220, inscribed for 16 years (642) in Zhenguan, the Western Pure Land of the Tang Dynasty in the Mogao Grottoes of Dunhuang shows a change in the form of the previous picture, which was painted under trees in the center of the picture and surrounded by thousands of Buddhas. And the use of large picture (whole wall) to represent the Western Pure Land landscape form gradually become the mainstream. In the third period of the early Tang Dynasty, sixteen views and no grievances were added to the periphery of the change of Western Pure Land to explain in detail the Sutra of endless Life. It can also be seen in other metaphoric diagrams that the nature of the metaphoric diagram has changed since the third period of the early Tang Dynasty. The purpose of this paper is to find out the changes of the Western Pure Land in the second period of the early Tang Dynasty, and to find out how the composition of the Pure Land changed in the third and fourth periods, and to investigate the cause of formation so as to deepen the understanding of the grottoes in the early Tang Dynasty of the Mogao Grottoes in Dunhuang.
【作者單位】： 筑波大學人間綜合科學研究科;東南大學藝術學院;
【分類號】：K879.41

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本文編號：2177180