Earticle

초록

영어

Based on the historical background of Dunhuang frescoes and European religious paintings from the 11th to 14th centuries AD, I explore and illustrate the similarities and differences in the formal language of religious classical art products from two different cultural backgrounds. Aesthetic standards, observation and analysis of classics and detailed analysis. The greatest common ground between Dunhuang frescoes and European religious paintings lies in the passion of painters and their dedication to creation. For strict religious belief, the image of God and decorative patterns are controlled by strict religious teachings, which is why religious paintings often become more classics and spread widely. Culture is a melting pot, its origin and convergence, exchange and separation, there will always be cultural consistency and differences in both East and West. It is also reflected in the elements of the two major religions. The historical period chosen in this article is the eve of the curtain-up of the Middle Ages in Europe. At this time, humanistic thought is in its infancy. At the same time, the Dunhuang area was also in a period of economic stability. The Xixia dynasty and the Northern Song Dynasty of China were divided into royal powers. Although they were foreign dynasties, the Xixia dynasty did not exclude Han culture. With the invasion of the Mongolian army in Europe, cultural and economic exchanges between Xixia and the Western Regions have also become closer. Therefore, at the cultural level, the Dunhuang area has also been developed and absorbed smoothly. This article is divided into five chapters. The first chapter explains the historical background of the two. The second chapter puts forward the similarities and differences between Dunhuang frescoes and European religious paintings, the third chapter compares the similarities and differences between the decorative elements and the arrangement of the painting forms through the aesthetics of modern aesthetics, and finally the fourth chapter proposes the above-mentioned comparative analysis The influence and value of modern art teaching are summarized in Chapter 5. I hope that through this article, readers can see the rigor of religious painting and the transformation of art to humanism in this particular period of humanism, and get inspired.

중국어

本人以公元11-14世纪敦煌壁画与欧洲宗教绘画的历史背景为前提，从浅到深，探讨并举例说明了两种不同文化背景下宗教古典艺术产物的形式语言的异同，以现代美学的基本审美标准，观察分析经典之作并作了详细的分析。 敦煌壁画与欧洲宗教绘画的最大共同点在于画师的热忱与他们对于创作专注的精神。对于严格的宗教信仰来说，神的形象与装饰纹样都是被严密的宗教教义所管制，这也就是为什么宗教的绘画往往会更多地成为经典，广泛流传。文化是一个大熔炉，起源与汇聚，交流与分斥，无论是东方还是西方总会有文化的一致性与差异性。在两大宗教的元素中也多有体现。 本文所选的历史时期正是欧洲中世纪的谢幕前夕，此时人文主义思想处于萌芽初期的。在同一时刻，敦煌地区也处于了经济的稳定时期，西夏王朝与中国北宋并列割据王权，虽为外朝，但西夏王朝并不排斥汉文化。伴随着蒙古军队的入侵欧洲，西夏与西域的文化与经济交流也更加密切。所以在文化层面上敦煌地区也得到了平稳发展与吸收。本文共分为五个章节。第一个章节交代了两者所处的历史背景。第二章提出敦煌壁画与欧洲宗教绘画的异同性，第三章通过现代美学的审美，对两者的装饰元素与绘画形式排列结构秩序的异同表现进行对比，最后第四章提出上述对比分析对现代艺术教学的影响与价值，并在第五章进行总结。希望通过本文，读者能在这个特定的人文主义萌芽时期，看到宗教绘画的严谨与艺术向人文主义的转变，并得到启发。

목차

<论文摘要>
第一章 緒論
第二章 研究此时期敦煌壁画与欧洲宗教绘画的原因
第三章 两种宗教绘画形式语言之比较
第四章 研究此时期的敦煌壁画与欧洲宗教绘画的价值以及对现代艺术教学的影响
第五章 结语
<參考文獻>
ABSTRACT

키워드

저자

• 程巍 [ 청웨이 | 京畿大學校 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  동양예술 [Oriental Art]

• 간기

  계간

• pISSN

  1975-0927

• 수록기간

  2000~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 600 DDC 700