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莫高窟观音菩萨画像中表现出的程式化,是在佛教“本土化”的过程中,在多元文化的交往中被固定下来的,往往体现着民族认同。绘画的形式内容丰富,本文就观音菩萨的身份象征、画像的时空构造以及榜题进行论述。
The stylization shown in the portrait of Guanyin Buddha at Mogao Grottoes was fixed in the process of Buddhism “localization ” in multicultural exchanges and often embodies national identity. The form of painting is rich in content. This article discusses the status symbol of Guanyin Bodhisattva, the space-time structure of the portrait and the list of the tops.