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“花”与“华”相通,在佛教艺术中“花”具有非常重要的价值。莫高窟北朝至唐代的花卉装饰纹样具有极强的时代特点,与前朝相比,从整体分布格局到具体形态都有着巨大的差别。对比于古代印度同时期的佛教艺术创作,本文试将唐代的花卉纹样进行具体的解构分析。唐代的装饰纹样中体现着绵延的审美历史和典型的民族文化特征,也是佛教艺术装饰纹样本土化的典型案例。
“Flower ” and “Hua ” connected, in the Buddhist art “flower ” has a very important value. Mogao Grottoes Northern Dynasties to the Tang Dynasty floral ornamental pattern has a very strong historical characteristics, compared with the previous dynasty, from the overall distribution pattern to the specific form has a huge difference. Compared with the Buddhist art creation of the same period in ancient India, this paper attempts to make a concrete deconstruction analysis of the flower pattern in the Tang Dynasty. The decorative patterns in the Tang Dynasty embody the stretches of aesthetic history and typical national cultural characteristics, and are also typical cases of the localization of Buddhist art decorative patterns.