| 从敦煌莫高窟壁画看佛教艺术的本土化 |
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| 引用本文： | 徐玉琼.从敦煌莫高窟壁画看佛教艺术的本土化[J].怀化师专学报,2013(6):77-78. |
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| 作者姓名： | 徐玉琼 |
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| 作者单位： | 巢湖学院艺术学院,安徽巢湖238000 |
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| 摘 要： | 佛教自西汉末东汉初传入中国，佛教艺术为了传播佛教思想文化而随着佛教思想渐趋中国化演变成具有本土性、民族性的艺术。敦煌壁画是敦煌艺术主要组成部分，在题材内容、人物造型与结构布局、线描勾勒与赋彩设色等方面都较好体现了中国化佛教艺术民族化、本土化进程。
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| 关 键 词： | 莫高窟 壁画 佛教艺术 本土化 |
On the Localization of the Buddhism Art from the Perspective of the Tunhuang Mogao Grottoes Mural Painting |
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| XU Yu-qiong.On the Localization of the Buddhism Art from the Perspective of the Tunhuang Mogao Grottoes Mural Painting[J].Journal of Huaihua Teachers College,2013(6):77-78. |
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| Authors: | XU Yu-qiong |
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| Institution: | XU Yu-qiong ( Fine Arts Department of Chaohu College, Chaohu, Anhui 238000 ) |
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| Abstract: | Buddhism was introduced into China between the the end of the the Western Han Dynasty and the begin of the Eastern Han Dynasty. In order to spread the Buddhist ideology and cuhure into China well, the Buddhism art gradually developed into the art with the features of chinese aborinigality and nationality. The Dunhuang frescoes was an integral part of the Dunhuang art, which embodied the course of the nationalization and localization of the Chinese Buddhism art well in the aspects of subject and content, characters, structural layout, line drawing, coloring and so on. |
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| Keywords: | The Mogao Grottoes mural paiting Buddhism art localization |
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