鄯善和于阗古国佛寺壁画花纲人物图像分析.docxVIP

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鄯善和于阗古国佛寺壁画花纲人物图像分析

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内容摘要：本文着重分析了若羌米兰、于田胡杨墩佛寺遗址壁画中的花纲人物图像，以及犍陀罗浮雕同类图像的继承和发展情况，认为米兰图像大体沿袭了犍陀罗担花纲因素，胡杨墩图像已从担花纲模式解放出来，并界定了二者年代；进而指出，米兰花纲人物具有右绕供养佛塔的设计意图，其翘脚担花纲者造型反映了古印度特有的供养形式，胡杨墩花纲人物依然属于佛寺供养内容，并非当前学界所谓古印度神话故事之表现。其人物形态灵活多变，在柔韧的线描轮廓中加入凹凸有致的晕染色彩，朝气无限的生命力跃然而出，展现出独特的于阗古国艺术世界。

关键词：若羌米兰；于田胡杨墩；佛寺壁画；花纲人物图像

K879.41：A：1000-4106（2018）04-0019-12

Abstract：ThispaperfocusesonanalyzingimagesofgarlandbearersfromtheBuddhisttemplemuralsofMilaninRuoqiang，andofHuyangduninYutian（Kerya）.AsfortheinheritanceandcircumstancesofdevelopmentregardingthesametypeofimagesfromGandharasculptures，theauthorbelievesthatelementsintheimagesofMilanweregenerallyinheritedfromtheGandharanimagesofgarlandbearers，whilethosefromtheDamagousitehadfreedthemselvesfromthisparticularmodeofpainting，aconclusionwhichalsoservesinestablishingthedifferentdatesatwhichthemuralsofthesetwotempleswerecreated.Thisresearchalsopointsoutseveralsignificantdetailsincontentandinheritanceoftraditionaswell，someofwhichcanbehighlightedinthisabstract.TheimagesofgarlandbearersfromMilanmurals，forinstance，containtheworshippatternofcircumambulatingclockwisearoundapagoda，whilethepresenceofagarlandbearerwhoturnsuponefootreflectsaspecialworshippracticefromancientIndia.TheimagesofgarlandbearersfromtheDamagoumuralsremainwithinthetraditionalcontentsofworshipfoundinBuddhisttemplesatthetimeanddonotseemtodepictanyancientIndianfairytalesassomemodernscholarshaveclaimed，thebearersarerathershowninavarietyofpostures，theirfiguresoutlinedinpliablelines.Theuseofcolor-gradationcreatesatridimensionaleffectandconveysanabundanceofvitality，astheartistsindeedintended，thusproducinganartisticvisionoftheancientkingdomofKhotanneverseenbefore.

Keywords：MilaninRuoqiang；DamagouinCele；B