敦煌早期三窟及濕壁畫技法——《敦煌石窟全集》第一卷《莫高窟第266~275窟考古報(bào)告》編后
發(fā)布時(shí)間:2018-05-20 08:16
本文選題:石窟考古報(bào)告 + 敦煌早期三窟; 參考:《敦煌研究》2017年05期
【摘要】:《敦煌石窟全集》第一卷《莫高窟第266~275窟考古報(bào)告》于2011年出版,揭開(kāi)了敦煌石窟研究的新篇章。書中敦煌早期三窟——莫高窟第268、272、275窟,是學(xué)界公認(rèn)敦煌現(xiàn)存最早的石窟寺遺跡。"敦煌地接西域",西北印度和中亞的彌勒信仰在三窟得到純粹而完備的圖像學(xué)表現(xiàn)。三窟的具體年代迄無(wú)定論,不同的意見(jiàn)及窟內(nèi)復(fù)雜情況須深入探討。早期三窟美術(shù)品的制作技法值得注意。敦煌早期壁畫至少在繪制開(kāi)始的步驟,應(yīng)該是使用了濕壁畫的方法。
[Abstract]:The first volume of the complete Collection of Dunhuang Grottoes, the Archaeological report of the Mogao Grottoes No. 266Grottoes, was published in 2011, opening a new chapter in the study of Dunhuang grottoes. In the book Dunhuang early three grottoes-Mogao Grottoes Grottoes 268272275, is recognized by scholars as the earliest existing Dunhuang grottoes temple remains. " The Maitreya Faith in Northwest India and Central Asia is pure and complete in the three grottoes. The specific age of the three grottoes is uncertain, different opinions and the complex situation in the grottoes need to be deeply explored. The techniques of making the early three grottoes are worthy of attention. The early Dunhuang murals, at least in the beginning of painting, should be the use of wet murals.
【作者單位】: 文物出版社;
【分類號(hào)】:J218.6;K879.21
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