| 摘要: |
| 本文运用建筑考古学的形
制类型学研究方法，从敦煌壁画勾
阑图像上提炼出有助于历史分期研
究的三组共14 个形制类型及其组合
关系，系统梳理了69 个窟的壁画勾
阑形制。通过栏板、望柱和蜀柱形
制的演变，划分出勾阑从北魏至西
夏所经历的六个演变历程：第一期
为北魏、第二期为西魏、第三期为
北周至隋朝、第四期为初唐至盛唐、
第五期为中唐至晚唐、第六期为五
代至西夏，并结合相关文献，详述
了各时期勾阑的形制特征。 |
| 关键词: 敦煌莫高窟 壁画 勾阑 历史分期 形制排比 |
| DOI：10.13791/j.cnki.hsfwest.20240926003 |
| 分类号: |
| 基金项目:甘肃省哲学社会科学规划项目（2023YB104）；教育部人文社会科学规划一般项目（25YJAZH126） |
|
| Study on the historical staging of Goulan in Dunhuang Frescoes |
|
YE Minghui,YAN Qianqian,MENG Xiangwu,PEI Qiangqiang
|
| Abstract: |
| This paper employs the typological methodology of architectural archaeology to systematically
analyze the formal evolution of Goulan depicted in the murals of the Dunhuang Mogao Grottoes, spanning from
the Northern Wei Dynasty (386-534 CE) to the Western Xia Dynasty (1038-1227 CE). By extracting three
groups of 14 typological categories-focusing on balustrade panels, Wangzhu, and Shuzhu-and their
combinatorial relationships, this study establishes a chronological framework for Goulan development through
systematic comparisons of 69 representative cave murals. The research identifies six distinct evolutionary
stages: Phase I- Northern Wei; Phase II-Western Wei; Phase III-Northern Zhou to Sui; Phase IV-Early to High
Tang; Phase V-Middle to Late Tang; and Phase VI-Five Dynasties to Western Xia. Each phase is characterized
by unique structural and decorative features, reflecting broader socio-cultural transformations in Chinese
architectural history.
Phase I: Northern Wei (386-534 CE)
Balustrades primarily featured interlaced lattice panels (Goupianzao, Type A) and vertical baluster panels
(Zhilingzao, Type C), occasionally combined (A+C). Wangzhu (baluster columns) were limited to simple forms
(Type L2), while Shuzhu (struts) were absent (Type I). This phase reflects early experimentation with hybrid
designs, influenced by Han Dynasty precedents yet distinct from contemporaneous Central Plains styles, likely
due to Dunhuang’s geographical and cultural marginality during this period.
Phase II: Western Wei (535-556 CE)
A stylistic shift occurred: vertical baluster panels (Type C) disappeared, replaced by uniform interlaced lattice
designs (Type A). Shuzhu(Type II: simple square struts) emerged as standard supports, replacing the earlier
absence of struts. Notably, lattice motifs migrated upward to occupy the space between Xunzhang and Penchun,
a unique feature unattested in non-Dunhang sources. This innovation may reflect Southern Dynasties influences
during the Liang Dynasty’s architectural reforms, though corroborating evidence remains scarce.
Phase III: Northern Zhou to Sui (557-618 CE)
Ornamental panels (Huabanzao, Types D1 and D3) debuted, characterized by plain or minimally decorated
surfaces. Vertical baluster panels (Type C) reappeared, while interlaced lattices (Type A) vanished—a
divergence from contemporaneous Central Plains practices, as seen in Northern Zhou tomb murals (e. g., Li
Xian’s tomb in Ningxia). The Sui Dynasty’s preference for vertical balusters, possibly inspired by artistic
trends like Zhan Ziqian’ s Spring Outing, highlights regional aesthetic divergences.
Phase IV: Early to High Tang (618-755 CE)
This period marked a transformative era. Horizontal baluster panels (Wolingzao, Type B) and elaborately
decorated panels (Type D2) emerged, alongside hybrid designs (e. g., B+D1). Shuzhu evolved into douzi
cuoxiang (Type III: concave-arc struts), while interlaced lattices (Type A) resurged. High Tang murals
paradoxically simplified balustrade ornamentation despite the dynasty’s famed opulence, possibly due to rising
stone balustrade popularity and geopolitical pressures from Tibet and Turkic tribes.
Phase V: Middle to Late Tang (756-907 CE)
Interlaced lattices (Type A) and horizontal balusters (Type B) persisted but were overshadowed by Huabanzao
panels (Types D1/D2), often painted in celadon-green interlaced hues (jianse), reflecting Tang color aesthetics.
Wangzhu diversified, including waist-drum columns (Type L3) influenced by Tibetan and Indian motifs.Reduced use of Xunzhang jiaojiaozao (angled handrail joints) signaled technical shifts toward hejiaozao (mitered joints), aligning with Wangzhu’s growing
decorative role. Post-An Lushan Rebellion declines in imperial authority mirrored the balustrades’ stylistic simplification and codification.
Phase VI: Five Dynasties to Western Xia (907-1227 CE)
Balustrades standardized into Huabanzao panels (Type D1), ordinary Wangzhu (L2), and douzi cuoxiang (Type III). Exceptions included sporadic interlaced
lattices (Type A) in Five Dynasties caves and waist-drum columns in Western Xia murals. The latter’s douzi cuoxiang exhibited transitional traits, hinting at
later yingxiang (swollen-neck struts) in Yingzao Fashi (Treatise on Architectural Methods). Despite Dunhuang’s waning geopolitical significance, these
innovations underscore enduring cultural exchanges between Central Asia and China.
This study refines the chronology of Chinese Goulan evolution, linking formal changes to broader historical narratives, e. g., Tang aesthetic shifts, Tibetan
cultural impacts, and material transitions from wood to stone. However, gaps persist: the disappearance of interlaced lattices (Phase III) and delayed adoption of
douzi cuoxiang (Phase IV) lack definitive explanations. Data limitations for Northern Dynasties and Sui periods also constrain phase boundary precision.
Future research should integrate Dunhuang findings with Central Plains artifacts and textual records (e.g., Yingzao Fashi) to reconstruct a holistic architectural
history.
By correlating typological sequences with socio-political contexts, this paper demonstrates how Goulan, micro-architectural elements, serve as lenses into
macro-historical currents. The six-phase framework not only advances Dunhuang studies but also provides a model for interdisciplinary research bridging
archaeology, art history, and architectural theory. |
| Key words: Dunhuang Mogao Grottoes Fresco Goulan historical staging form parallelism |
