文化有根 創意是伴 Bridging Creativity
佛國凈土的美妙境界減少了,代之是人間權貴的世俗氣息。
信男信女們帶著理想走進這些洞窟,是不是會感到又回到了現實?那麼,理想應該放在哪里呢?
現實是很難放進去理想的,他們還是固執地把理想放在這里,但他們不會把理想交給那些顯要權貴們的,而是寄托給在彩色的雲彩上徜徉的神佛與天女們。
自晚唐以來,經變畫內容突出的改變是《勞度叉斗聖經變》的出現和《降魔變》的陡增,這種驅邪降魔的畫面與天王力士們威不可擋的形象一起,在動亂的五代頻繁湧現,表明人們的現實境遇和更迫切的生存願望。…
ContinueAdded by 微影庫 on January 15, 2021 at 11:13pm — No Comments
大興佛教是隋代以來穩定政權的必由之路。
曹議金比任何一位敦煌權貴都熱衷於開鑿莫高窟。曹氏政權分為兩個時代:五代曹氏政權前期和北宋曹氏政權後期,兩個時期建新修舊的洞窟分別是175個和112個。達到了歷史的高峰。為了大規模營造洞窟,曹氏仿照中原設立官辦畫院。當時敦煌盛行的專門承接畫塑業務的民間畫行,都有級別和分工。畫院里也分等級,比如畫師與塑師,畫工與塑工,以及院生和廝役等等。此外畫院還有官職,畫師稱作“都畫使”,組織上更加正規。這樣一個集體就能運作大規模的開鑿建造的工程了。
(潘潔茲《莫高窟的創造者》)
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ContinueAdded by 微影庫 on January 11, 2021 at 12:00am — No Comments
愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.
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