Origine et montage des bannières peintes de Dunhuang - article ; n°1 ; vol.40, pg 83-91

Robert Jera-Bezard, Monique Maillard

Description

Arts asiatiques - Année 1985 - Volume 40 - Numéro 1 - Pages 83-91
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 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 pages
Source : 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.

Sujets

• Documents
• Savoirs
• Techniques
• Sciences et techniques

Informations

• Publié par: Arts-asiatiques
• Publié le: 01 janvier 1985
• Nombre de lectures: 70
• Langue: Français
• Poids de l'ouvrage: 1 Mo

Extrait

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

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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