【摘要】：敦煌藏經(jīng)洞所出P.4524文書為一橫長畫卷,正面繪《勞度叉斗圣變》的六個斗法場面,背面文字來自敦煌藏經(jīng)洞所出《降魔變文》,內(nèi)容與正面畫面情節(jié)一一對應(yīng)。本文在前人研究的基礎(chǔ)上,對畫面進(jìn)行了細(xì)讀,并與同類題材壁畫和傳世卷軸畫進(jìn)行對比研究,認(rèn)為這件文書正面的畫幅以樹為敘事故事間隔,六個故事情節(jié)構(gòu)成一幅連環(huán)畫卷,構(gòu)圖新穎、風(fēng)格獨特,是傳統(tǒng)牢度叉斗圣變繪畫題材的創(chuàng)新。畫中出現(xiàn)不同層次繪畫水平的構(gòu)圖表明此畫卷非一人獨立完成。畫面中位于勞度叉身后的少數(shù)民族裝束人物形象,映射了張議潮率眾趕走吐蕃統(tǒng)治的歷史事件。這幅畫卷還是敦煌講唱活動中使用的圖像輔助,通過多個繪畫細(xì)節(jié)可以判斷此件文書為吐蕃統(tǒng)治之后歸義軍早期的作品。
[Abstract]:The P.4524 document produced by Dunhuang Tibetan Classics Cave is a horizontal and long picture scroll with six fighting scenes of "Laodu-Diaosheng" on the front. The back text comes from Dunhuang Tibetan Classical Cave's "Divine Divinity", and the content corresponds to the plot of the positive picture one by one. On the basis of previous studies, this paper makes a detailed study of the picture, and compares it with the murals of the same subject matter and the scroll painting of the same generation. It is considered that the front picture of this instrument is a tree as the narrative story interval. Six storylines constitute a comic book with novel composition and unique style. The composition of different levels of painting in the painting indicates that the scroll is not completed by one person alone. The image of ethnic costume figures behind Lao Du-chih reflects the historical event that Zhang Yu-tiao banished the Tubo rule. The scroll is also used in Dunhuang speaking and singing activities to assist the image, through a number of painting details can be identified as the document after the Tubo rule of the Rebellion's early works.
【作者單位】： 中央美術(shù)學(xué)院;敦煌研究院;
【分類號】：K879.4

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