| Abstract: | 本文擬藉佛教傳播、佛教藝術的特色、敦煌壁畫整體風格、山水畫的精神內涵、山水畫的風格演變及歷史等因素，探討唐代敦煌莫高窟壁畫中之山水的整體風格、意境、繪畫思維、空間營造、造型、筆墨等表現，並試圖探究壁畫山水與中原文化之關係。
由於敦煌特殊的地理位置與文化特性，本文以王克文，《敦煌藝術風華》將唐代劃分成初唐（618-712）、盛唐（712-781） 中唐（781-848），相當於敦煌地區的吐蕃時期）、晚唐（歸義軍時期）（848-907）等四個時期分別論述之，探討山水形式的發展與風格的承變。石窟壁畫年代的判別以敦煌研究院整理的《敦煌石窟內容總錄》的洞窟編號為主。並以故事畫、經變畫、佛教史績畫中的壁畫山水為主要論述對象，依發展之影響要素加以交叉比對、討論分析，藉此探求時代性的山水風格，及其間的承變關係。為求微觀，不但橫向作同期的比較，也縱向將不同時期的承變關係，加以綜合論述。
本文共分六章：第Ⅰ章緒論，說明研究動機、研究範圍及本文預計目標。第Ⅱ章探討“敦煌壁畫之山水發展的內涵概述”借先期瞭解其演變發展過程中內在精神層面與外在表現的技術等因素，期有利於比對、分析、歸納出唐代敦煌壁畫之山水發展概況。第Ⅲ章探討“敦煌北朝至隋代山水壁畫的延續”，主要說明敦煌自北朝起的山水壁畫風格銜接唐代間之隋代壁畫中的山水承先啟後的功能。第Ⅳ章為本論文探討重點“敦煌唐代壁畫中山水的發展”，分別論述初唐時期、盛唐時期、中唐時期（吐蕃時期）、晚唐時期（歸義軍時期）的山水形式，依結構關係、造形與線條、設色等繪畫要素作為討論的要點，呈現每個時期壁畫山水的樣貌與風格，將每個分期山水壁畫的承變關係凸顯出來，整理出各個時期的承變與異同。第Ⅴ章探討“敦煌唐代壁畫中山水對五代的影響”主要說明敦煌唐代壁畫中山水的延續性。第Ⅵ章結論，針對敦煌唐代山水時代風格及其價值作一結論，並顯現出敦煌壁畫中之山水畫可作為中國山水畫史研究上佐證的價值。
This paper is aimed to discuss the landscape painting’s overall style, artistic conception , space construction, modeling, drawing and ink expression in Dunhuang Mogao Grottoes Murals in Tang Dynasty by means of exploring the factors of Buddhism dissemination, features of Buddhistic art, Dunhuang mural style, the inner meaning, the evolution and history of landscape painting. As well as attempting to find out the possible connections between landscape murals and Yellow River culture.
Considering of the particular geographic position and its cultural features of Dunhuang, the study is referred to 王克文 “敦煌藝術風華” to sort Tang Dynasty into four time periods to discuss the form development and the style changes of landscape murals, which is early Tang (618~712), high Tang (712~ 781), middle Tang (781~ 848) also known as the Tubo (Tibetan) period, and late Tang period (848~ 906) during which Dunhuang returned to Chinese rule because of the military feat of a local general Zhang Yichao. The identification of the Mogao mural’s age is referred to the “Dunhuang rock cave content always records” which published by the Dunhuang Research Institute Cavern Primarily. Besides, taking the landscape as the main discussing object no matter from story murals, transformed murals or historic Buddhist murals. Also, making the cross match and discussion on these developing factors in order to look into its epochal landscape painting style and interact between each other. Furthermore, using point-by-point comparison in the same period and item-by-item comparison in different period can avoid departing form microcosmic frame.
This paper is divided into six chapters: Chapter 1 introduction, state the motivation, range and objective of the research. Chapter 2 summarize the development of Dunhuang landscape murals, better understand the inner spirit and external technique changing is benefit to compare, analyze and further to summarize the development of landscape in Tang Dynasty of Dunhuang murals. Chapter 3 explores the continuity of Dunhuang landscape murals from the Northern Zhou period to Sui Dynasty. It mainly illustrates the landscape mural style in Northern Zhou period connects to that in Tang Dynasty and continues to Sui Dynasty. Chapter 4 the key point of this paper, the development of landscape in Tang Dynasty of Dunhuang murals. It discusses the various style of landscape murals on structure, modeling, lines, coloring ect.. in four separate Tang Dyansty- early Tang , high Tang, middle Tang and late Tang, point out the relationships of each period and similarities and dissimilarities between each other. Chapter 5 the influence of landscape in Tang Dynasty of Dunhuang murals to the Five Dynasty, it discusses the continuity of landscape in Tang Dynasty of Dunhuang murals. Chapter 6 conclusion, focus and conclude on the style and value of landscape in Tang Dynasty of Dunhuang murals and reveal that the value of landscape painting in Dunhuang murals can be regarded as the evidence in the research of Chinese landscape painting history. |
