▍譯說(shuō)講堂
① 什么是石窟寺？
The Grottoes Temples are rock-cut architecture that were used for religious purposes. Influenced by the Buddhism in India, monks in China in 3rd century started to build grottoes temples in cliffs. In ancient times, Buddhists made caves on remote mountains into shrines. The shrines are filled with carvings, sculptures and other religious art to practice their religion.
Combining buildings, sculptures, wall-paintings, and calligraphy, grotto temples fully embody the Chinese nation’s aesthetic pursuit, values and cultural spirit. The protection work is confronting some problems, such as the vulnerability to natural disasters and sabotage, as well as lacking professional agencies and staff members.
② 敦煌莫高窟的傳說(shuō)
Dunhuang, a blessed stop on the Silk Road running through Gansu Province in northwest China. For centuries, Dunhuang has been a special place for the weary travelers — not only because of its trade center. Fifteen miles away from its bustling markets lie the Mogao Caves, home to one of the most breathtaking collections of Buddhist paintings and statues in the world.
As legend has it, a Buddhist monk named Le Zun was making the long journey to the Western Paradise. Crossing the Gobi Desert, he stopped by Sanwei Mountain, near Dunhuang. It was dusk and he was admiring the sunset when suddenly the mountains began to glow. Raising his head, he saw an image of a glorious golden Buddha floating in the sky. Deeply moved by the radiant scene, Le Zun immediately decided to stay and celebrate it. Le Zun had learned painting and sculpture, and so he put forth these skills to recreate his vision.
③ 敦煌早期壁畫的故事
Early Dunhuang paintings chiefly depict incidents in the life of the Buddha. In style they show a blend of Central Asian and Chinese techniques that reflects the mixed population of northern China at this time. The predominant theme was still the Buddhist stories highlighting the working of karma.
④ 敦煌早期壁畫的風(fēng)格
受西域和印度繪畫風(fēng)格的影響，敦煌壁畫的畫面中常常用粗壯的朱紅色輪廓線來(lái)勾勒，因?yàn)槟昃蒙暑伭系淖兓?，朱紅色就變成了黑色。再在人物主要肌肉的高光處用白色暈染，最后再以淺朱紅色過(guò)渡人物的全身。這種繪畫技巧被稱作凹凸暈染法（The western three dimensional colouring technique），有學(xué)者將這種風(fēng)格稱為“黑眼圈現(xiàn)象”。
⑤ 敦煌中期的經(jīng)變畫
到了隋唐時(shí)期，敦煌壁畫經(jīng)歷了重要的變化。壁畫中的佛祖?zhèn)兇┥狭酥性说陌虏В嬶L(fēng)也頗有吳道子“吳帶當(dāng)風(fēng)”的風(fēng)格。褒衣博帶就是寬大的儒生和士大夫所穿的裝束，著寬袍，系闊帶。這種服飾審美從魏晉時(shí)代興起，代表了中原文人所追求的那種自由灑脫和超凡脫俗的精神境界。敦煌壁畫中身著東方服飾的佛像被學(xué)界稱為“褒衣博帶式袈裟”（Full Robe and Wide Belt Kasaya）
