【摘要】： 論文分為上、下兩編。上編分析了敦煌莫高窟吐蕃窟的窟龕形制、壁畫構(gòu)成形式和題材特征,從其演變、發(fā)展的情況以及壁畫的細部特征進行了考證,劃分出821年以后興建的吐蕃后期洞窟22個。821和822年唐蕃政權(quán)在長安城外和拉薩舉行會盟,此次會盟事件給吐蕃統(tǒng)治下的敦煌帶來了影響,蕃漢民族關(guān)系進入到相對融洽的階段。吐蕃窟中因此而出現(xiàn)了畫有吐蕃贊普和侍從像的維摩變,以及穿著吐蕃服飾的供養(yǎng)人,壁畫中畫五臺山和峨嵋山道場的文殊變和普賢變、經(jīng)變畫中的脅侍菩薩新形象、包裹裝飾紋樣的建筑柱身等等因素都與蕃漢之間的文化交流往來的有密切關(guān)系,致使以漢傳佛教藝術(shù)為主導(dǎo)的吐蕃后期洞窟壁畫中,出現(xiàn)了新的繪畫因素。論文下編專注于研究吐蕃后期具有突出時代特征的經(jīng)變畫,分章討論了密教菩薩經(jīng)變、金剛經(jīng)變、報恩經(jīng)變、維摩詰經(jīng)變等經(jīng)變題材,探討了密教菩薩經(jīng)變圖像樣式、金剛經(jīng)變脅侍菩薩新樣式的來源,吐蕃時期的密教菩薩信仰特點,經(jīng)變中的故事畫及其體現(xiàn)的信仰思想。密教菩薩、經(jīng)變中的脅侍菩薩都有新的樣式混雜在漢地傳統(tǒng)的佛教造像樣式之中,這些新因素都和吐蕃本土的藝術(shù)、吐蕃人的喜好有關(guān)。從凈土經(jīng)變的數(shù)量和其他經(jīng)變題材的配置關(guān)系看,凈土類經(jīng)變始終是首先被選擇進入洞窟的題材。從洞窟的設(shè)計原則和佛教信仰的層面看,吐蕃后期洞窟首先營造的還是一個佛國凈土的世界,其次是將為唐蕃雙方祈福,祈盼唐蕃通好,以及對唐朝的向往與思念等世俗的現(xiàn)實愿望隱含在壁畫中,超越了佛教信仰這個簡單的層面。
[Abstract]:The paper is divided into two parts: the first and the second. The above part analyzes the shape of the grotto niche, the form and subject matter of the murals in the Mogao Grottoes of Dunhuang, the evolution and development of the murals, and the detailed features of the murals. 22 late Tibetan grottoes built after 821 were divided into 22. 821 and 822 Tang Fan regime meetings held outside Changan City and Lhasa, which had an impact on Dunhuang under Tubo rule. Tibetan Han nationality relations entered a relatively harmonious stage. As a result of this, there appeared in the Tibetan Grottoes the Vimo change with Tibetan Zamup and attendant statues, as well as the providers in Tubo costumes, the Manjushi and Puxian changes in the wall paintings of Wutai Mountain and Emei Mountain, and the new image of the menacing Bodhisattva in the painting. The architectural columns wrapped in decorative patterns and other factors are closely related to the cultural exchanges between the Han and Tibetan Han dynasties, which led to the emergence of new painting factors in the murals of the later Tibetan grottoes dominated by the Han Buddhist art. The next part of the thesis is devoted to the study of metamorphosed paintings with prominent characteristics of the times in the later period of Tubo. In each chapter, we discuss the changing themes such as the change of Bodhisattva, the change of King Kong, the change of retribution, the change of Vimorakirti, and the image style of the change of Bodhisattva. The source of the new style of bodhisattva, the characteristics of Buddhist Bodhisattva belief in the Tubo period, the story painting in the changing period and the belief thought embodied in it. Buddhism Bodhisattva and the changing Bodhisattvas all have new styles mixed in the traditional Buddhist statues of the Han Dynasty. These new factors are related to the native art of Tubo and the preference of the Tubo people. From the relationship between the quantity of the change of the Pure Land and the distribution of other subject matter, the change of the Pure Land is always the first subject matter to be selected to enter the cave. From the aspects of the design principles of the grottoes and the Buddhist beliefs, the caves in the late Tubo period first created a world of the pure land of the Buddha country, and then prayed for the blessing of both sides of the Tang Dynasty, hoping that the Tang Dynasty would be well connected. As well as the yearning and yearning for Tang Dynasty, the secular realistic desire is hidden in the murals, which transcends the simple level of Buddhist belief.
【學位授予單位】：中央美術(shù)學院
【學位級別】：博士
【學位授予年份】：2010
【分類號】：J218.6;K879.4

【引證文獻】

相關(guān)博士學位論文 前3條

1 王治;空間表達與寓意[D];中央美術(shù)學院;2011年

2 阮麗;敦煌石窟曼茶羅圖像研究[D];中央美術(shù)學院;2012年

3 信佳敏;敦煌莫高窟唐代屏風畫研究[D];中央美術(shù)學院;2013年

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本文編號：2333021