从印度到中国——"燃灯佛授记"图像异时同构中的叙事性
From India to China:Narrative in the Image Heterogeneity and Isomorphism of the"Burning Lamp Buddha's Teachings"
徐亚新1
作者信息
- 1. 河北美术学院;内蒙古民族文化艺术研究院
- 折叠
摘要
"燃灯佛授记"图像是印度、中亚、新疆等地美术史中重要母题之一,虽表现同一母题,但各地区再现图画时有明显的差异性,其构图表现是差异性之一.最常见的构图形式是"异时同图"式,即在单一框架内表现不同时间、不同地点的不同情节.同种构图形式下叙事方式不同,通常运用连续叙事、线性叙事、合并叙事等.每种叙事方式可看出画匠对于题材情节选择不同,人物搭配做出调整,故事母题加入画匠自由发挥成分,亦可以反应出资人想要呈现给观者不同的设计意图.文章以一种新的视角审视"燃灯佛授记"图像流传时产生的流变与各地区接受艺术形式、信仰角度、本土文化的关系.
Abstract
The image of"Burning Lamp Buddha's Lecture"is one of the important themes in the art histo-ry of India,Central Asia,Xinjiang and other regions.Although it represents the same theme,there are sig-nificant differences in the representation of the painting in different regions,and its composition expres-sion is one of the differences.The most common form of composition is the"same picture at different times"style,which represents different plots at different times and places within a single framework.Un-der the same composition form,different narrative styles are usually used,such as continuous narrative,linear narrative,and merged narrative.Each narrative style reflects the artist's different choices of sub-ject matter and plot,adjustments made to character combinations,and the artist's free expression of story themes.It also reflects the investor's desire to present different design intentions to the viewer.The arti-cle examines from a new perspective the changes in the dissemination of the image of"Burning Lamp Buddha's Teachings"and the relationship between the acceptance of art forms,belief perspectives,and local cultures in various regions.
关键词
燃灯佛授记/柏孜克里克石窟/异时同构/叙事方式Key words
Lamp burning Buddha's teachings/BzeklikCaves/Asynchronous isomorphism/Narrative style引用本文复制引用
出版年
2024
NETL
NSTL
万方数据