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北魏關中地區佛教造像風格的多元化=Diverse Buddharupa Styles from Northern Wei Dynasty Guanzhong Area
Author 常青 (著)=Chang, Qing (au.)
Source 夏荊山藝術論衡=Journal of Xia Jing Shan's Art
Pages37 - 76
Publisher Url
Location臺北市, 臺灣 [Taipei shih, Taiwan]
Content type期刊論文=Journal Article
Keyword關中佛教藝術=Buddhist art from Guanzhong; 佛教造像=Buddharupa; 北魏=Northern Wei; 民間造像=folk Buddharupa; 石窟寺=grotto temple
Abstract 與別的地區北魏佛教藝術不同,以長安為中心的關中地區佛教造像風格傾向於多元化,既有在平城與洛陽影響下形成的北魏中央模式風格,也有關中一代的多種地方風格。北朝陝西的地方造像風格主要表現為一種以密集衣紋為特徵的造像(佛、道造像均有),流行時間約為六世紀上半葉,即北魏晚期至西魏。這種風格應該是在關中地區形成的,並且直接影響到了陝西北部地方一些石窟與單體造像的製作,並將這種風格推廣到了陝北、隴東與寧夏南部地區,流行的時間為六世紀上半葉,並沒有形成影響北方各地的統一的時代風貌。作者對於這種地方風格造像的行程、傳播、淵源、民族歸屬作了探討。陝西北魏晚期造像風格的多元化,說明了地方佛教信眾對多種雕刻風格的自由選擇。而地方風格正可以適應地方民眾對雕塑藝術的欣賞口味。

Buddharupas found in the area of Guanzhong with Changan at the center differ from other Buddhist art from the Northern Wei dynasty. The styles in the area were diverse, which formed a distinct central Northern Wei style with influences from Pingcheng and Luoyang, while also consisting diverse stylistic regional elements from the area of Guanzhong. Distinct features showcasing tight textile patterns are commonly observed on the Buddharupas found in Shanxi from the Northern dynasties (with both Buddhist and Taoist statues or models discovered). This stylistic trend was popular throughout the first half of the 6th century, spanning from the late Northern Wei dynasty to Western Wei dynasty. This particular style likely originated in the area of Guanzhong and also directly influenced the art found in grottos and other individual statues or models found in the northern region of Shanxi. The style was also later introduced in Shanbei, Longdong, and southern Ningxia. The trend lasted throughout the first half of the 6th century, but did not go on to influence epochal styles observed in northern regions. This paper includes studies on the formation, distribution, origin, and sense of ethnic belonging related to the Buddharupa styles found in the region. The diverse Buddharupa expressions found in Shanxi from the late Northern Wei dynasty indicate that local followers of the religion were able to freely select from a wide array of sculptural styles based on their own preferences. Furthermore, it also shows that regional styles also adapted to local people’s preferences for sculptural art.
Table of contents一、平城風格 42
二、洛陽風格 46
三、地方風格之一:密集衣紋與傳統佛菩薩服飾 50
四、地方風格之二:獨特的交領式佛菩薩服裝 60
五、關中地方風格之三:民間風格造像 64
六、陝西北魏晚期造像風格多元化的歷史原因 65
七、結語:陝西北魏佛教造像的類型與分期 68
ISSN24126233 (P)
Created date2020.01.10
Modified date2020.06.15

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