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SM ISO690:2012 WANG, Min. The Problem of the Donor Rank Portraits Individualization in the Murals of Dunhuang Monastery. In: Arta , 2020, nr. 1(AV), pp. 155-161. ISSN 2345-1181. DOI: https://doi.org/10.5281/zenodo.3938713 |
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Arta | ||||||
Numărul 1(AV) / 2020 / ISSN 2345-1181 /ISSNe 2537-6136 | ||||||
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DOI:https://doi.org/10.5281/zenodo.3938713 | ||||||
CZU: 75.052(510)(091) | ||||||
Pag. 155-161 | ||||||
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The article is devoted to the issue of the donor portraits individualization in the murals of the Dunhuang temple complex, one of the greatest monuments of Buddhist art in China. The comparison of portrait images of different times suggests that donor images had a great evolutionary path and had run through specific developments from a simple plate indicating the name of the person and his virtues to big compositions such as largescale personal portraits and family scenes. The individualization of the donor portraits in the temple paintings was manifested through historically truthful transfer of facial features, national features and depictions of typical manners, poses, facial expressions and gestures of the character. To create personalized images, artists used the traditional linear drawing technique which allowed them to show maximum similarity of the portrait to the person being portrayed. The comparison of the fresco painting of the Dunhuang temple complex from different eras gives grounds to designate that implementation of individualized national features to the portraits of the patrons was a reflection of socio-political, cultural and artistic processes taking place in the country. These processes are reflected in the increase in the size of the donors’ figures, the level of their individualization and details of the accompanying elements of the portrait such as costumes, jewelry, hairstyles and attributes that reflect a person’s social status. |
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Cuvinte-cheie Dunhuang, mural, donor portrait, individualization, composition, linearity, stylistics, Dunhuang, pictură murală, portretul ctitorului, individualizare, compoziţie, linearitate, stilistică |
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Dublin Core Export
<?xml version='1.0' encoding='utf-8'?> <oai_dc:dc xmlns:dc='http://purl.org/dc/elements/1.1/' xmlns:oai_dc='http://www.openarchives.org/OAI/2.0/oai_dc/' xmlns:xsi='http://www.w3.org/2001/XMLSchema-instance' xsi:schemaLocation='http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd'> <dc:creator>Wang, M.</dc:creator> <dc:date>2020-12-28</dc:date> <dc:description xml:lang='en'><p>The article is devoted to the issue of the donor portraits individualization in the murals of the Dunhuang temple complex, one of the greatest monuments of Buddhist art in China. The comparison of portrait images of different times suggests that donor images had a great evolutionary path and had run through specific developments from a simple plate indicating the name of the person and his virtues to big compositions such as largescale personal portraits and family scenes. The individualization of the donor portraits in the temple paintings was manifested through historically truthful transfer of facial features, national features and depictions of typical manners, poses, facial expressions and gestures of the character. To create personalized images, artists used the traditional linear drawing technique which allowed them to show maximum similarity of the portrait to the person being portrayed. The comparison of the fresco painting of the Dunhuang temple complex from different eras gives grounds to designate that implementation of individualized national features to the portraits of the patrons was a reflection of socio-political, cultural and artistic processes taking place in the country. These processes are reflected in the increase in the size of the donors’ figures, the level of their individualization and details of the accompanying elements of the portrait such as costumes, jewelry, hairstyles and attributes that reflect a person’s social status.</p></dc:description> <dc:description xml:lang='ro'><p>Articolul este dedicat problemei individualizării portretelor donatorilor de pe frescele complexului monastic Dunhuang, unul dintre cele mai importante monumente de artă buddhistă din China. Compararea imaginilor portretistice din diferite perioade permite a afirma că reprezentările ctitorilor au parcurs o cale evolutivă lungă de la simple inscripţii care indicau numele donatorului și meritele sale până la compoziții de proporţii – portrete personale și scene de familie. Individualizarea portretelor donatorilor în picturile murale ale mănăstirii s-a manifestat prin redarea veridică a trăsăturilor feţelor, specificului național, manierelor tipice, pozelor, mimicii și gesturilor personajelor. Pentru crearea unor imagini personalizate, pictorii au folosit tehnica tradițională a picturii liniare, ce a permis să obţină similitudinea maximă a portretului cu persoana reprezentată. Compararea frescelor complexului monastic Dunhuang, pictate în diferite epoci, permite a constata că introducerea unor trăsături naționale, individualizate în portretele donatorilor, a fost o reflexie a proceselor sociopolitice, culturale și artistice ce se desfășurau în țară. Procesele menţionate s-au manifestat prin mărirea dimensiunilor siluetelor donatorilor, prin gradul de individualizare, precum şi prin detalierea unor elemente însoţitoare ale portretului: costume, bijuterii, coafuri și accesorii, care reflectă statutul social al persoanei.</p></dc:description> <dc:identifier>10.5281/zenodo.3938713</dc:identifier> <dc:source>Arta (1(AV)) 155-161</dc:source> <dc:subject>Dunhuang</dc:subject> <dc:subject>mural</dc:subject> <dc:subject>donor portrait</dc:subject> <dc:subject>individualization</dc:subject> <dc:subject>composition</dc:subject> <dc:subject>linearity</dc:subject> <dc:subject>stylistics</dc:subject> <dc:subject>Dunhuang</dc:subject> <dc:subject>pictură murală</dc:subject> <dc:subject>portretul ctitorului</dc:subject> <dc:subject>individualizare</dc:subject> <dc:subject>compoziţie</dc:subject> <dc:subject>linearitate</dc:subject> <dc:subject>stilistică</dc:subject> <dc:title>The Problem of the Donor Rank Portraits Individualization in the Murals of Dunhuang Monastery</dc:title> <dc:type>info:eu-repo/semantics/article</dc:type> </oai_dc:dc>