Dunhuang Mogao Cave 14 of the Late Tang stands as pivotal example of a central-pillar cave,showcasing a pagoda image at its heart and harmoniously blending architectural,sculptural,and pictorial arts.This paper offers three theoretical reconstructions of the pagoda image,encompassing the mural on the western ceiling slope and the central pillar.By examining the remaining four pagoda images and Buddhist and decorative motifs within the cave,it delves into how the primary pagoda image shaped the cave's spatial imagery.The second section explores the likelihood that the central pillar's design was inspired by the Tibetan-style curved-pillar pagoda representations.The third section reveals how the Late Tang cave design accentuated the primary pagoda within a five-buddha mandala through the biaxial symmetry of its architectural space,the convergence of plastic and pictorial spaces,and decorative and visual enhancements.The fourth section discusses how the addition of the pagoda and lotus flower images as a result of the 10th-century renovation created visual and thematic ties with the Late Tang era's primary pagoda image,enhancing the correlation between the Lotus Pagoda and the Avatamsaka Pagoda.This case study introduces a novel approach to examining the comprehensive spatial artistry of Dunhuang architecture.
关键词
敦煌莫高窟第14窟/中心柱窟/塔图像/五佛曼陀罗/法华塔/华藏世界/重修/复合空间
Key words
Dunhuang Mogao Cave 14/central-pillar cave/pagoda image/five-buddha mandala/lotus pagoda/lotus's repository world/renovation/comprehensive space
维普
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