佛教壁画

中国少数民族地区佛教壁画与古印度佛教壁画的不同

The Buddhist Frescos Differences between Ethnic Minorities of China & Ancient India

这是中唐时期的一幅佛教壁画，其“涅盘经变”主题是北魏以来就开始流行的题材。

This is a picture painted in mid-Tang dynasty , when the theme of Nirvana had been a popular subject since North Wei dynasty ( 439-534CE ) .

山西繁峙岩山寺文殊殿西壁绘制的佛传故事画，是我国金代现存为数不多的佛教壁画之一。

The west wall painted the life of the Buddha in Shanxi Fanshi Yanshan Temple is one of the few existing Buddhist murals in Jin Dynasty in China .

比如，早期基督教和佛教壁画描绘了一个全能的，超然的和神秘的神。其严峻的目光笼罩着庙宇，教堂和圣所的内部。

And Buddhist murals , for example , portrayed an all-powerful , remote , and mysterious being , whose stern gaze dominated the interiors of temples , churches , and sanctuaries .

中国敦煌——李凌志（音译）站在98号窟阴凉的暗处，看着身穿蓝色工装的工作人员查看洞窟里的佛教壁画，这些在戈壁滩崖洞里的壁画，是1000多年前由一个统治当地的家族出资创制。

DUNHUANG , China - In the cool shadows of Cave 98 , Li Lingzhi watched as workers in blue suits inspected the Buddhist frescoes commissioned in this Gobi Desert cliff grotto more than a millennium ago by a local ruling family .

论佛教与中国古代壁画

Buddhism and Ancient Chinese Murals

庙宇和像莫高石窟和麦积山石窟等佛教石窟展现了壁画的艺术价值和历史价值。

Temples and Buddhist grottoes such as those at Mogao Caves and Maijishan Caves contain artistically and historically revealing murals .

本文着重讨论佛教文化对于敦煌壁画从内容题材、风格特点、空间构造、线描特点、用色特点到今后创作的启示。

This article focused on the murals of Dunhuang Buddhist culture for subject matter from the content , style characteristics , spatial structure , the characteristics of line drawing with color characteristics of creative inspiration to the future .

随着佛教自汉代起传入我国，佛教艺术尤其是佛教的壁画艺术也逐步发展起来。

Buddhism art , especially Buddhism frescoes , developed gradually with the introduction of Buddhism into China by Han Dynasty .