dunhuanggrottoes

DUNHUANGGROTTOES敦煌石窟XXXFromGroup42015.5.14DunhuangisanoasissurroundedbydesertandgravelinnorthwesternChina.ItwasinhabitedbythepeopleofYuezhi,WusunandXiongnubeforethethirdcenturyBC.WarringStatesPeriodIntheHanDynasty,EmperorWuappointedZhangQiantotheWesternRegions.Hedocumentedvaluableinformationduringhisjourney,leadingChinatodiscoverEurope,thusgivingbirthtotheSilkRoad.“敦煌”一词，最早见于《史记·大宛列传》中张骞给汉武帝的报告，说“始月氏居敦煌、祁连间”，公元前111年，汉朝正式设敦煌郡。“敦，大也，煌，盛也。”——《汉书》“敦，大也。以其广开西域，故以盛名。”——《元和郡县图志》（唐）TheHanDynastyDunhuangwasestablishedasagarrison(要塞)byEmperorWu,inordertoextendmilitarypowerandforthebenefitsoftrade.Itwasthefrontier,atthewestendoftheHexi(westoftheYellowRiver)Corridor.Itwasthemain(andonly)gatewaytoandfromChinaontheSilkRoad.TheHanDynastyMapofSilkRoadNorthernRoadSouthernRoadAccordingtorecords,thefirstcavewasconstructedbyatravellingmonk,Lezun,in366AD.Afterhecame,theChanmasterFaliangwhoopenedasecondcavenexttoLezun’s.TheFirstCave“莫高窟者，厥前秦建元二年，有沙门乐傅，戒行清虚，执心恬静，尝杖锡林野，行至此山，忽见金光千状有千佛……造窟一龛。次有法良禅师，从东凿此，又史于传师窟侧，更即营窟。迦蓝之起，滥觞于二僧。后有刺史建平公东阳王，……后合州黎庶，造作像仍，实神秀之幽严，灵奇之净域也……推甲字四百余岁，计窟室千余龛……”——唐李怀让TheThreeKingdomsperiodTheearliestcavesherearebelievedtobebuiltbythesetwomonks.However,thesecavesnolongerexist.Now,theonlysurvivingexamplesfromtheearliestperiodofactivityarethreecavesbelievedtobeopenedintheNorthernLiang(421-439).TheEarliestCaveExistingNorthernLiangToday’sMogaoCaves1.内容：主要为佛传、本生故事及说法图等。2.人物造型：头戴花蔓或宝冠，曲发垂肩，面相椭圆直鼻大眼，耳轮长垂，体态粗壮，上身半裸，胸饰琪洛肩披大巾，腰裹长裙。典型的西域特征。3.面部晕染：采用表现明暗的凹凸法（西域式晕法）。4.画面构图：采取散点、平列的装饰性构图形式。TheNorthernLiangDynasty尸毗王本生（北凉）TheNorthernandSouthernDynastiesBetweenthe4thandthe6thcentury,DunhuangwasunderthenomadicrulersintheSixteenKingdomsperiod(366-439).In439,itbecamepartoftheNorthernWei.InthefollowingperiodsoftheWesternWei(534-556)andNorthernZhou(557-581),therewereseveraloccasionsofanti-religiouspersecution(迫害).TheNorthernandSouthernDynasties1.内容：出现了反映神仙思想的传统神话题材2.人物造型：“秀骨清像”式造型风靡—身材修长，相貌清瘦，眉目疏朗，面带笑容。3.面部晕染：中原晕染法初步运用（在人物面部晕染两团红色来表现两颊红润泽）。1.内容：故事画的发展达到顶峰，故事情节更为丰富曲折，生活气息浓厚，供养人画像大增。2.人物造型：中原式与原来的西域式风格互相融合，形成了“面短而艳”的新形象。出现了新的西域式佛祖画像（面相丰圆，体态短壮，上身半裸或着僧抵支，腰裹重裙，肩披大巾）。3.面部晕染：中原晕染法与西域晕染法并存。西域式佛祖画像面部晕染尤为特殊,出现了白鼻、白眼、白连眉、白齿、白下巴的五白形象。TheWesternWeiDynastyTheNorthernZhouDynastyTheNorthernandSouthernDynasties1.内容：以故事画为主，故事画中除了佛传、本生外，还出现了因缘故事。2.人物造型：造型上人体比例逐渐加长，人物动态也逐渐灵活而有情致，脸型已由椭圆而略显条长。佛教人物造型已与本土传统艺术造型进一步结合。3.面部晕染：逐步改进的西域晕染法。TheNorthernWeiDynasty九色鹿本生(北魏)伏羲女娲和诸神（西魏）菩萨（西魏）北周第285窟五百强盗成佛因缘药叉（北周）TheSuiDynastyTheSuiDynasty(581-618)TheSuiDynastyonlylastedfor37years,butitreunifiedthewholeempireandconcludedtheturbulence(骚乱).ThetwoSuiemperorswereamongthegreatestpatrons(赞助人)ofBuddhisminChina.1.内容：本生故事画让位于经变画；出现了单独成像的观音菩萨；装饰图案丰富多彩，藻井尤为富丽。2.人物造型：逐渐趋向人间化、世俗化。人物造型多种多样。菩萨的脸型有方形，有条长形，有广额秀颐形。罗汉头形有扁有圆，并有汉像梵像之分。菩萨的姿态亦从呆板的双腿并立逐渐过渡到一腿微曲，把重心放在另一腿上的自然倾斜的姿态，形成隋代菩萨像特有的风格。3.面部晕染：将西域明暗法与中原式染色法熔于一炉，使人物形象的颜面既表现红润的色泽，也有阴阳明暗的立体效果。TheSuiDynasty萨垂本生与福田经变（隋）隋代藻井隋代菩萨TheTangDynastyTheTangDynastyCaveconstructionreachednewheightsinthefollowingyearsaftertheSuidynasty.TheartandcivilizationoftheSilkRoadachieveditsgreatestgloryduringtheTangastheempirereacheditsgoldenageinChinesehistory.Thebright-coloredstatuesandcomplexscenesinthemuralsaremagnificent.阿弥陀佛经变（初唐）菩萨头像（盛唐）反弹琵琶（中唐）菩萨（中唐）北方天王（晚唐）AttheendoftheTang,somecaveswerestillconstructedinDunhuang,butsoontaperedoff.AnothertraderoutebyseawasdevelopedandtheYuanEmpireexpandedmuchfurtherwest,makingDunhuangnolongerstrategicallowingtolanguish.ThesefactorscausedDunhuangtofadeintohistory.TheTangDynastyTheTangDynastyTheSong&YuanDynastyThecourtattachesgreatimportancetothepainting,thepalacepaintingbecamepopularinsteadofthemuralpainting.ThenumberofmuralinDunhuangisgreatlyreduced.Buttherearestillsomecreativemuralpaintings,suchastheMountWutaiinSongdynasty.TheSong&YuanDynasty五台山（北宋）佛（元）菩萨（元）IntheearlyMingDynasty(1368-1644),thegovernmentgaveupthisareaandmovedthepopulationtotheeast,leavingDunhuangasalonelygrasslanduntiltwohundredyearslater.Anoutpostwassetupagainin1723andupgradedtoagarrisontwoyearslater.Peoplemovedbacktofarmandrebuildthishistoricallysignificantcentre.TheMingDynastyMingDevelopment南北统一社会安定TheSuiDynastyNorthernLiangUnited南北地区、中原与西域文化的融汇佛教东传BeginningThenorthernandSouthernDynastiesFlourishingFalling社会繁荣昌盛佛教盛行文人画风盛行，壁画退出主流绘画TheTangDynastyTheSong&YuanDynastyApsaras(TheFlyingCelestials)ApsaraswasoriginallyafemalespiritofthecloudandwaterinHinduandBuddhistmythology.InChina,itreferstotheflyingcelestials(神仙)ineithergender,youngorold.TheimagesofapsarasshouldbeclassifiedasakindofBuddhistfigure,butbecausetheyareuniqueinDunhuangart,theyaredescribedinaseparatetopic.北周西魏That’sall,Thankyou!!!