摘要
敦煌藏经洞绘画品由于众所周知的原因,大部分收藏于国外。英国斯坦因的《塞林底亚》(Serindia)中的《从千佛洞所获的绘画、版画、织物和其他文物目录》集中反映了英藏敦煌藏经洞遗画的发现顺序和原始状态,尤其是目录中注记部分,详细记载了斯坦因带至大英博物馆藏经洞绘画品的内容、形态,并抄录上面的中文题记译成英文,以及经过处理后的保存状态。但同时该原始目录中又不可避免地出现了许多问题,如绘画品的定名和年代考证错误、画面内容和色彩的叙述错误、不明图像解读与图像关联性判断错误等。针对上述问题我们需进行严格的数据核对、修订和审定,以消除错误和疏漏,保证该目录所呈现的信息客观真实,以期为今后深入研究敦煌学史研究提供精确范本。
At the beginning of the 20th century,a large number of Dunhuang manuscripts and paintings were discovered in Cave 17,located on the north wall of the corridor of Cave 16 in the Mogao Caves.Due to well-known reasons,most of these paintings are now housed in foreign collections. List of Paintings, Woodcuts, Textiles, and Miscellaneous Antiques recovered from Ch’ien-fo-tung in Stein’s Serindia provides a concentrated reflection of the discovery sequence and original state of the Dunhuang paintings in the British Museum. Especially in the notes section, Stein conducted in-depth research and analysis of this batch of Dunhuang paintings and provided detailed interpretations of the image elements of each painting, such as character images, scene backgrounds, and their symbolic meanings. However, some problems inevitably emerged in this process. Through systematic analysis, error correction and organization of these issues, it is helpful to correctly understand and summarize the history of Chinese and British scholars’ utilization of the Dunhuang murals collected by the British Museum for collation, publication and academic exchange. It can also be cross-verified and supplemented with the research on Dunhuang murals held in domestic and foreign collections, promoting the innovative application research of Dunhuang iconography. The research mainly adopts the methods of textual research: analyzing and evaluating them by referring to the original list, their collection numbers, published plate indexes and Chinese inscriptions;comparative research: comparing the characteristics of the compilation of Dunhuang mural catalogues at home and abroad;and the combination of macro and micro approaches: analyzing and evaluating the details in the original annotated catalogue. Thus, it is concluded that there are errors in Stein’s original annotated catalogue. We need to conduct strict data verification, revision and review, starting from the aspects of verifying the correlation of the images recorded in the catalogue, comparing and analyzing the painting materials with modern technological means, and screening and integrating the catalogue information. We should place it in the historical context and conditions of that time, and combine the characteristics of the compilation of Dunhuang studies catalogues in China and the West, conduct comprehensive comparisons and systematic revisions to eliminate errors and omissions. This will ensure the objectivity and authenticity of the information presented in the catalogue, and ultimately promote the birth of an accurate model of Dunhuang art history and catalogue!
作者
刘鑫
杨青
Liu Xin;Yang Qing
出处
《艺术设计研究》
北大核心
2025年第2期12-17,129,130,共8页
Art & Design Research
基金
教育部2022年青年基金项目“英藏敦煌遗画原始注记目录研究”(项目编号:22YJCZH214)的阶段性研究成果。
关键词
敦煌藏经洞遗画
原始注记目录
问题
修订
Dunhuang sutra cave collection
Original catalogue annotations
Issues
Textual revision
作者简介
刘鑫,兰州文理学院讲师、博士;通讯作者:杨青,陇东学院副教授、硕士。
