【摘要】： 本論文以柏孜克里克石窟誓愿畫為題目進(jìn)行考古學(xué)研究。所謂誓愿畫的考古學(xué)研究,就是以柏孜克里克石窟普遍存在和唯一貫穿始終的有代表性的誓愿畫題材為主線,在對(duì)誓愿畫各個(gè)主題構(gòu)圖、寓義、不同主題誓愿畫組合的類型及其在不同形制洞窟中配置的形式等進(jìn)行較充分研究的基礎(chǔ)上,結(jié)合與誓愿畫有關(guān)洞窟的形制結(jié)構(gòu),將有關(guān)各洞窟看似孤立的壁畫題材串聯(lián)起來在此基礎(chǔ)上,有的洞窟誓愿畫配置可基本復(fù)原,并將誓愿畫與相關(guān)壁畫題材分成不同的組合類型。其次,再將誓愿畫洞窟的形制結(jié)構(gòu)和主要壁畫題材進(jìn)行歸納整理,就之與前者建立有機(jī)的內(nèi)在聯(lián)系。 本論文內(nèi)容如下: 第一章,主要討論中心殿堂第15、20窟的誓愿畫。先解釋第20窟誓愿畫15個(gè)主題圖像與榜題的內(nèi)容,進(jìn)而研究誓愿畫的依據(jù)佛經(jīng)。然后通過第15窟誓愿畫的復(fù)原,進(jìn)行比較第15、20窟誓愿畫的圖像、構(gòu)圖、風(fēng)格的區(qū)別以及相對(duì)早晚關(guān)系。 第二章,以長(zhǎng)方形窟誓愿畫為重點(diǎn),按誓愿畫畫面幅數(shù)的區(qū)別,分三組,分析誓愿畫圖像與主題組合演變。并對(duì)誓愿畫的核心主題燃燈佛授記圖像的變化,進(jìn)行了分析,并進(jìn)一步討論了柏孜克里克石窟誓愿畫的構(gòu)圖形式與犍陀羅地區(qū)佛傳浮雕的構(gòu)圖形式的相似處。 第三章,基于第一、二章誓愿畫研究,進(jìn)一步討論在不同洞窟形制當(dāng)中,誓愿畫與其他題材壁畫組合關(guān)系。按洞窟形制分為四種類型,即中心柱窟、中心殿堂窟、大型長(zhǎng)方形窟和中小型長(zhǎng)方形窟,分析與誓愿畫組合的題材特征以及其內(nèi)涵。 結(jié)語部分總結(jié)了本論文的創(chuàng)新點(diǎn)和不足之處。
[Abstract]:The subject of this thesis is the vows of Baizi Creek Grottoes. The so-called archeological study of vows is to take the popular and unique representative vows as the main line in the composition and meaning of the various themes of the vows. On the basis of a more thorough study of the types of vows of different themes and their configuration in different grottoes, combined with the form structure of the grottoes related to vows and vows, On the basis of the series of mural themes which appear to be isolated in each cave, some cave vows can be basically restored, and the vows and related murals can be divided into different types of combination. Secondly, the structure of vows and the main murals are summarized and arranged to establish an organic relationship with the former. The content of this paper is as follows: the first chapter mainly discusses the vows of Grottoes 15 ~ 20. First explain the contents of 15 theme images and list of vows in Grottoes 20, and then study the Buddhist scriptures on which the vows are drawn. Then through the restoration of vows in Grottoes 15, this paper compares the images, composition, style differences and relative sooner or later relationships between the vows of Grottoes 15 and 20. The second chapter focuses on the vows of the rectangular grottoes. According to the difference of the picture number of the vows, it is divided into three groups to analyze the evolution of the combination of the vows and the themes. The paper also analyzes the changes of the image of lighting Buddha teaching, the core theme of vows, and further discusses the similarity between the composition form of the vows and the embossed form of Buddha biography in Gandhara area. The third chapter, based on the study of the vows painting in the first and second chapters, further discusses the relationship between the vows painting and other mural paintings in different grottoes. According to the form of the cave, it can be divided into four types, that is, the central column grotto, the central temple cave, the large rectangular cave and the small and medium-sized rectangular cave. The theme characteristics and connotation of the combination of vows and paintings are analyzed. The conclusion summarizes the innovation and deficiency of this paper.
【學(xué)位授予單位】：中國(guó)社會(huì)科學(xué)院研究生院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：K879.4

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 張香珍;元代高昌回鶻藏傳佛教研究[D];新疆師范大學(xué);2012年

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本文編號(hào)：2277568