Origine et montage des bannières peintes de Dunhuang - article ; n°1 ; vol.40, pg 83-91
10
pages
Français
Documents
1985
Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus
Découvre YouScribe et accède à tout notre catalogue !
Découvre YouScribe et accède à tout notre catalogue !
10
pages
Français
Documents
1985
Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus
Arts asiatiques - Année 1985 - Volume 40 - Numéro 1 - Pages 83-91The subject of this paper is to seek the origins of the mounting of the Buddhist banners recovered by Sir Aurel Stein and Paul Pelliot in a cave of the Mogao grottos near Dunhuang (Gansu, China). First, we distinguish the different categories of banners and paintings on silk or hemp cloth according to their shape and use. Secondly, this study follows the development of the banners as ornaments of the stûpa from India to China across Central Asia. Lastly, the Chinese origin of the art of mounting is demonstrated with the help of examples selected in Chinese art. The mounting seems to find its final shape (with triangular headpiece, side and lower ribbons) toward the early Tang period (618-712). It will keep this form at least as far the Song period. Another paper will deal more particularly with the religious utilization of the banners.9 pagesSource : Persée ; Ministère de la jeunesse, de l’éducation nationale et de la recherche, Direction de l’enseignement supérieur, Sous-direction des bibliothèques et de la documentation.
Voir
Robert Jera-Bezard
Monique Maillard
Origine et montage des bannières peintes de Dunhuang
In: Arts asiatiques. Tome 40, 1985. pp. 83-91.
Abstract
The subject of this paper is to seek the origins of the mounting of the Buddhist banners recovered by Sir Aurel Stein and Paul
Pelliot in a cave of the Mogao grottos near Dunhuang (Gansu, China). First, we distinguish the different categories of banners
a
n
d
p
a
i
n
t
i
n
g
s
o
n
s
i
l
k
o
r
h
e
m
p
c
l
o
t
h
a
c
c
o
r
d
i
n
g
t
o
t
h
e
i
r
s
h
a
p
e
a
n
d
u
s
e
.
S
e
c
o
n
d
l
y
,
t
h
i
s
s
t
u
d
y
f
o
l
l
o
w
s
t
h
e
d
e
v
e
l
o
p
m
e
n
t
o
f
t
h
e
banners as ornaments of the stûpa from India to China across Central Asia. Lastly, the Chinese origin of the art of mounting is
demonstrated with the help of examples selected in Chinese art. The mounting seems to find its final shape (with triangular
headpiece, side and lower ribbons) toward the early Tang period (618-712). It will keep this form at least as far the Song period.
Another paper will deal more particularly with the religious utilization of the banners.
Citer ce document / Cite this document :
Jera-Bezard Robert, Maillard Monique. Origine et montage des bannières peintes de Dunhuang. In: Arts asiatiques. Tome 40,
1985. pp. 83-91.
doi : 10.3406/arasi.1985.1183
http://www.persee.fr/web/revues/home/prescript/article/arasi_0004-3958_1985_num_40_1_1183
