西部人居环境学刊2026，Vol.41Issue(2)：187-192,6.DOI:10.13791/j.cnki.hsfwest.20240926003
敦煌壁画勾阑分期研究
Study on the historical staging of Goulan in Dunhuang Frescoes
摘要
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.关键词
敦煌莫高窟/壁画/勾阑/历史分期/形制排比Key words
Dunhuang Mogao Grottoes/Fresco/Goulan/historical staging/form parallelism分类
建筑与水利引用本文复制引用
叶明晖,鄢倩倩,孟祥武,裴强强..敦煌壁画勾阑分期研究[J].西部人居环境学刊,2026,41(2):187-192,6.基金项目
甘肃省哲学社会科学规划项目(2023YB104) （2023YB104）
教育部人文社会科学规划一般项目(25YJAZH126) （25YJAZH126）
