Jātaka story paintings are common narrative subjects in Dunhuang murals.Based on corresponding scriptures,they present all kinds of good deeds that Sakyamuni sacrificed his life to save sentient beings in his previou...Jātaka story paintings are common narrative subjects in Dunhuang murals.Based on corresponding scriptures,they present all kinds of good deeds that Sakyamuni sacrificed his life to save sentient beings in his previous life.Dunhuang Jātaka story paintings are highly consistent with the scriptures in content,but their intuitiveness and expressiveness are more prominent.By comparing the narrative relationship between Jātaka story paintings in the Mogao Grottoes of Dunhuang and their corresponding scriptures,this study finds that the two have unity in reproducing artistic images and restoring key plots of classic Buddhist scripture stories,but there are great differences in the narrative effect.Dunhuang Jātaka story paintings have three prominent features in narrative,including visualization of key elements,concretization of expressions and movements,and contextualization of cause and effect.This study aims to reveal the intertextual narrative relationship between Dunhuang Jātaka story paintings and their corresponding scriptures.展开更多
The creation of the classic 1960s film Liu Sanjiewas a complex process, and the intentions and meanings quite varied. In essence, the localized, marginalized, and decentralized folk legend about Liu Sanjie was discove...The creation of the classic 1960s film Liu Sanjiewas a complex process, and the intentions and meanings quite varied. In essence, the localized, marginalized, and decentralized folk legend about Liu Sanjie was discovered and transformed into a representation of the Guangxi area and even of China proper--a product of its era＇s emphasis on folk culture and state-sponsored policies in the 1950s concerning the production of art and literature. Liu Sanjie underwent a series of adaptations from folk legend to Guangxi caiagao opera, music and dance opera, and finally to film. It was not just a product made under those policies, but also Liu Sanjie became a model for later revolutionary operas. This paper applies a textual narrative strategy to examine how artists, guided by the literature and art policies, incorporated, adapted, and reiterated the legend of Liu Sanjie to express gender awareness and class struggle.展开更多
文摘Jātaka story paintings are common narrative subjects in Dunhuang murals.Based on corresponding scriptures,they present all kinds of good deeds that Sakyamuni sacrificed his life to save sentient beings in his previous life.Dunhuang Jātaka story paintings are highly consistent with the scriptures in content,but their intuitiveness and expressiveness are more prominent.By comparing the narrative relationship between Jātaka story paintings in the Mogao Grottoes of Dunhuang and their corresponding scriptures,this study finds that the two have unity in reproducing artistic images and restoring key plots of classic Buddhist scripture stories,but there are great differences in the narrative effect.Dunhuang Jātaka story paintings have three prominent features in narrative,including visualization of key elements,concretization of expressions and movements,and contextualization of cause and effect.This study aims to reveal the intertextual narrative relationship between Dunhuang Jātaka story paintings and their corresponding scriptures.
文摘The creation of the classic 1960s film Liu Sanjiewas a complex process, and the intentions and meanings quite varied. In essence, the localized, marginalized, and decentralized folk legend about Liu Sanjie was discovered and transformed into a representation of the Guangxi area and even of China proper--a product of its era＇s emphasis on folk culture and state-sponsored policies in the 1950s concerning the production of art and literature. Liu Sanjie underwent a series of adaptations from folk legend to Guangxi caiagao opera, music and dance opera, and finally to film. It was not just a product made under those policies, but also Liu Sanjie became a model for later revolutionary operas. This paper applies a textual narrative strategy to examine how artists, guided by the literature and art policies, incorporated, adapted, and reiterated the legend of Liu Sanjie to express gender awareness and class struggle.
