【作者】 徐勇；

【导师】 郑炳林； 樊锦诗；

【作者基本信息】 兰州大学 ， 历史文献学， 2007， 博士

【摘要】 壁画艺术可谓是利用塑造形式和图画形式表达人类情感或思想的一个艺术领域。如同所有艺术皆源于娱乐的本能，壁画艺术也不例外。壁画艺术乃是最贴近人类生活的一种艺术，是在生活环境的影响中诞生，生活环境的影响不仅在人类之间，在所有生物的相互关系中皆会产生影响。人类的生活环境会直接或间接地产生影响，人类是在这样的环境中受到方方面面的启发而创作出相应的艺术作品，即不同的环境会塑造出不同的创意作品。如今这样的艺术作品会为现代人枯燥无味的生活提供可以休闲放松的地方，而这就是艺术对社会做出的贡献，也就是作为艺术家应尽的义务。这样的艺术随着时光的流逝发展成多种多样的艺术形式，大体上分为个人艺术和大众艺术，而壁画艺术则从古至今以大众艺术行为的代表性艺术形态发展到今日。尤其像洞穴壁画，作为绘画的实用性最突出的一种佛教美术，由古代印度从教化角度创造出炉并传播到中国之后被赋予教化方面的装饰意义，为强调寺院的庄严性而被塑造得更加华丽、细腻。对于颜色采用而言，从最初的基本色调逐渐变得多种多样，并为了满足需要，开发并引进丰富的天然矿物颜料，从而促进了调色方法的发展。从东方概念上的“色”则超越了单纯的视觉方面的意义，随着其时代的价值观和美观等诸多条件而展现得异彩纷层、变化无数。尤其就绘画而言，从色彩的作用上，对比和协调等塑造领域和对象注入感情而加以美化。这样的色彩从东方的审美意识即美的意识上启始于礼乐，所谓礼乐与人类感情的适度开放具有密切关系。早在东方壁画中出现的色彩，将与阴阳五行思想相融合的五色视为神圣色彩，所采用的色彩会随着思想境界以及时代的变迁而改变了绘画的样式，随之出现的色彩从表现上由象征性发展到感性的表达。“敦煌”通过丝绸之路，容纳、反映了西域绘画样式和技术，是古代东西方文化的交流通道，从地理上也占重要位置。除了其地区的特点，敦煌壁画历经上千年的漫长岁月，在同一个地方经历不同的时代被持续创作，于是本论文将通过敦煌壁画所采用的颜料的分析和研究，推测各个时代所采用的颜料特性以及其变迁过程。为研究壁画材料，本论文对出现在古文献里的颜料相关记录和敦煌石窟壁画所采用颜料的调查分析，以从阴阳五行中相当于阴阳五行的五方色(白、赤、青、黄、黑)和五间色(绿、碧、红、蛾黄、紫)等10种基本颜色为中心，阐明其特点，观察不同时代从其色感和颜色上有何发展变化，为将来研究开发现代壁画材料和寺院壁画制作提供重要的基础依据。更多还原

【Abstract】 Paintings may deliver people’s internal world vividly, basing on author’s creativity, times trend, foreign culture and other multi-culture, which may use for both practicality and appreciation. At the very beginning of the initial paintings were made for curse or religion, however, as the development of age and gradual release on art expression, paintings possess more attraction from the side of appreciation. Thereamong the Spanish Altamira burrow murals and French Lascaux Caves murals made in 15, 000 to 10, 000 years BC belong to one of the representative painting form created for the practical aim of richness, memory and enjoyment, etc.Buddhist temple murals also belong to one of the strong practicality murals, which completely developed around 4th century after Buddhism spread in China on 2~3 century at the very beginning. The aim is to stress on the royalty of temple and Buddha-saluting. Buddhist temple murals are created from the angle of religion and developed along with the rich, crude mineral dye in harmony with the temple architecture. According to different age and region, the Buddhist temple murals exhibit many kinds of manner which may give some hints on not only the relating information of antiquity paintings and ancientry color pigment, but also the character of religion painting and backward the history evolution process, thus Buddhist temple murals possess important historical data value from the view of religion and society.Not only Buddhist temple murals, but also the art works, if the applied materials and the structural feature are not mastered in advance, it is obvious to profound understand history is impossible, and to integrally recover culture capital is also hard. Therefore the initial research should be made on pigments and materials history seriously through literature review and scientific analysis as a kind of project. Especially for the research on Buddhist temple murals, the analysis of pigment for murals is of high importance, as the applied pigments are critical to express painting features.This paper focuses on Dunhuang grotto murals as main research object because Dunhuang grotto murals have different pigment feature in different times and have much relation with Korea murals pigment. Thus Dunhuang grotto murals as main research object is also because Dunhuang passes the silk road, accommodates and reflects Turkestan painting style and technique as the intercourse channel of ancient western and oriental culture, which is in the extremely important location geographically. Except the characters of region, as murals go through thousands of years, continually created at the same site at different era, thus the murals possess very high historical data value, which becomes the sole site of the most sample pigment are well kept. Therefore the analysis and study on the pigments applied for the murals may speculate on the pigment feature at different times and its developing process.In order to study mural materials, this paper analyzes the relating record appearing in the acient literature and pigments applied for Dunhuang grotto murals, centers on ten basic colors of five color (white, scarlet, blue, yellow, black) as positive and negative in five element theory and five intermediate color (green, green jade, red, light yellow, purple) to elucidate the features and observe the development history of color sensation and color at different ages. In addition, focus is put on the sides of so-called depigmentation, metamorphose, falling off and other damages of Dunhuang grotto murals, to explain from the angle of arts history and conservation discipline, to promote the conservation manner with practical meaning from the angle of conservation project and current view and provide fundamental basis evidence for the future research on discovering modern mural materials and the fabrication of temple murals. The graduate author as mural professional painter has to consider the outstanding features of the conservation of mural works from the creation of work. Therefore the research on mural materials becomes the necessary part. In current case of most painters view the western art as the utmost value and idolatrous, this research may understand the excellent technique of oriental traditional murals and dissolve into modern art to accord with the aethestic standard of modern human.更多还原