龟兹壁画艺术

龟兹壁画艺术

龟兹壁画艺术是中国新疆库车县一带遗留的二十余处佛教石窟和佛教遗址壁画成就的总称。龟兹石窟群均在古龟兹境内，是现存的龟兹佛教文化遗产中最重要的组成部分，也是闻名中外的艺术宝库。龟兹石窟群的兴建年代，大约自东汉至唐代。龟兹地区西承印度犍陀罗佛教的絮脉，东启新疆以东内地佛教的发展，是北传佛教的重要纽带和阶梯。境内的佛教石窟遗迹丰富，具有浓郁鲜明的地域特色。龟兹石窟的艺术成就，集中反映在瑰丽多彩的壁画上，其内容主要表现印度北传佛教的部派特征，以图像的形式来阐明早期佛教的四谛因缘等哲学理论。壁画将大小乘佛教内容兼容并蓄的造像现象在世界各地的佛教遗址中非常罕见，对于宏观研究佛教文化和美术史是宝贵的视觉形象资料。

Art of Qiuci Fresco

Art of Qiuci fresco generally refers to twenty plus Buddhist grottoes and frescoes in Buddhist ruins scattered within the territory of present Kuqa County, Xinjiang, P.R.China. Being an integral part of Buddhist cultural heritage in existence, Qiuci grotto group, distributed over the ancient land of Qiuci Kingdom, is of prime importance and an artificial treasure house renowned throughout the globe as well. The excavation of Qiuci grotto group took its rise in approximately ranging from Eastern Han Dynasty (25—220 AD) to Tang Dynasty (618—907 AD). Serving as a crucial tie and development stage of Buddhist north-disseminated route, Qiuci Buddhist art not only followed Indian Gandhara art, but also exerted an influence on the areas in the east of Xinjiang and the Central Plains beyond Xinjiang. A wealth of remains of Buddhist grottoes in this area, characterized by a distinctive local style and flavour, mirror their features in its magnificent and multicoloured fresco, which present a brilliant artistic achievement. With Buddhist schools disseminating from India to the north in content and image of Buddha episodes and different occasions in form, the frescoes illustrate Buddhist creeds at an early stage such as the four noble truths and or the twelve interconnected causes. Both in style and content of these statues and fresco had absorbed Mahayana and Hinayana creeds which are seldom seen among Buddhist ruins across the world, and they are of great value in regard to researching Buddhist culture and A History of Art in a macroscopic view.

龟兹壁画采用勾线、平涂和晕染相结合的重彩画法，用屈铁盘丝描法，以石青、石绿、白色为主调，加朱色、赭色提点，色调瑰丽明快，形成独特的西域画风——即注重线条起伏、块面转折的细致变化，利用丰富鲜艳的装饰色彩，表现现场的强烈感染力和精神震慑力。它融合了佛教绘画、中原传统文化、波斯文化、希腊文化、罗马文化与犍陀罗绘画雕塑等艺术手法，具有既神秘又明朗、既夸张又写实的艺术风格。在中外绘画史上，龟兹壁画在公元四至六世纪时期代表着世界范围内的宗教绘画高峰，在造型审美观以及规模、数量和壁画绘制的综合性工艺技法等方面都达到了当时世界各地难以超越的水准。

Exuberant colors were applied to painting frescos such as delineating, spread-coating and color-gradation techniques as well as fine and taut brushstrokes technique. With azurite, malachite green and white as predominant color hue and adding miniumite and sienna as brilliant colors, a magnificent and sprightly color tone was created, forming a distinctive painting style in the ancient western region, namely, making a feature of meticulous

conversion of undulating lines, transition from one aspect to another, rich and gaily-colored decorative tinct to represent an eye-catching appeal and heart-shaking effect on the scene. Reflecting the convergence of influences in this area, Buddhist fresco is a mixture of Chinese classic culture, Persian culture, Hellenism, Roman culture and Gandhara artistic approach in painting and sculpture, permeating an artistic style of mysticism and lucidity, exaggeration and realism. Taking a sweeping view of the Chinese and foreign history of painting, Qiuci fresco embodied the highest peak in religious painting from the fourth to the sixth century, attaining an impressing level without a parallel in other areas across the globe at that time, whether in aesthetic judgment on the plastic arts or in using integrated techniques in terms of their dimension, quantity and making.

龟兹壁画人体艺术系列挂毯将中国佛教壁画艺术和传统织毯工艺完美结合，其图案设计和色彩选择均以遵循壁画原作风格为主旨，清晰地反映了中国佛教图案装饰艺术的发展脉络，真实展现了龟兹壁画人体艺术的原始魅力，为中国手工艺术品中的佳作。

Serial tapestry on topic of body art in Qiuci fresco was a combination of Chinese Buddhist fresco art and traditional carpet–knitting technique, following its pattern design and color in fresco’s original style. These artistic works are distinctly records of historical development of Chinese Buddhist decorative arts of pattern and authentically exhibit a primitive fascination of body art in Qiuci, which are of excellent work among Chinese manual works of art.

《飞天·唐》以龟兹石窟群之库木吐喇千佛洞16号窟壁画中的飞天为创作原型，真实地再现了龟兹壁画人体艺术的独特造型和优美姿态。飞天是佛教文化中特有的艺术种类，意为空中飞行的天神。飞天的绘画风格因地区和时代不同各具特色，唐代时飞天的艺术形象已经形成了完全中国化的完美表征，重现了李白描述的―素手把芙蓉，虚步蹑太清。霓裳曳广带，飘浮升天行‖仙子形象。本品继承了唐代中期西域飞天的特征:人体比例准确，色彩艳丽丰富，飞行姿态呈敞口U字形，不长翅膀，不生羽毛，没有圆光，借助云彩而不依靠云彩，凭借飘曳的衣裙、飞舞的彩带凌空翱翔，表现出了潇洒轻盈的飞行之美。人物形象脸型丰圆，长眉秀眼，直鼻小唇，上体半裸，胸饰璎珞臂戴镯钏，腰系长裙，赤脚外露。飞天周身彩云飞旋，长带飞舞，香花纷落，既表示飞天向佛陀作供养，又表现了佛国天堂的自由欢乐。

With Flying Apsaras in Grotto No. 16 of Kumutula Thousand-Buddha Grottos as a prototype, Flying Apsaras of Tang Dynasty reproduces an inimitable model and elegant posture of body art in Qiuci. Flying Apsaras, a deity flying in the air, is an artistic character in Buddhist culture. Thanks to differences in region and age, every painting style of fly apsaras had its own merits, among which artistic image of flying apsaras created in Tang Dynasty had completely evolved into a perfect symbol with Chinese characteristics. And a reproduction of flying apsaras is no other than a fairy maiden portrayed in a poem by Li Bai of Tang Dynasty, with hibiscus in her hands of white jade, lightening her step up the Great Purity; wearing in rainbow garment and with wide belt swaying, she ascends to the heaven. This work inherits flying apsaras’s characteristics in the ancient western region during the middle period of Tang Dynasty, which is characterized by its accurate proportion, gorgeous and exuberant color, U-shaped flying posture, with no wings and feather on her back and halo surrounding her head. By means of clouds wafting, floating clothing and fluttering colored ribbon high up in the air, it is to manifest aesthetic feelings in a free, easy and graceful manner. Features of flying apsaras are a full and round face, long eyebrows and elegant eyes, a straight nose and a pretty mouth. She wears necklace of jade and pearls around her neck and bracelets encircling the wrist or arms. Her upper part of body is naked and wears a longuette hanging from her

waist and barefooted. With whirling colorful clouds around her body, long ribbon fluttering and fragrant petals flaking down in the breeze, it represents flying apsaras’s making offerings to Buddha and the freedom and jollification in Land of Ultimate Blass of Buddha.

请勿拍照 No Photos 请勿触摸 Hands Off