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本文以敦煌石窟保存的《观无量寿佛经》内容壁画为研究对象,对《十六观》等反映的自然观及敦煌画家将自然景物移入佛教绘画的过程进行了探讨,指出自然的心象仍是中国艺术绵延发展的内在动力。
This article takes Dunhuang Grottoes as the research object, and analyzes the natural view reflected in XVI concept and the process by which Dunhuang painters moved natural scenery into Buddhist painting, pointing out that the natural heart is still The Inherent Impetus for the Extensive Development of Chinese Art.