山東地區北朝佛教造像藝術=BUDDHIST ICONIC ART OF THE NORTHERN DYNASTIES IN THE SHANDONG REGION

劉鳳君

Author

劉鳳君

Source

考古學報=Acta Archaeologica Sinica

Volume

n.3

Date

1993

Pages

281 - 310

Publisher

中國社會科學院考古研究所

Publisher Url

http://www.cass.net.cn/y_03/y_03_38kgyjs.html

Location

北京, 中國 [Beijing, China]

Content type

期刊論文=Journal Article

Language

中文=Chinese

Keyword

山東佛教藝術; 青州造像; 佛像; 佛教藝術=Buddhist Art; 中國佛教史=Chinese Buddhist History

Abstract

The Buddhist images of the Northern Dynasties discovered in Shandong fall into three categories: single gilt bronze statues, single stone icons, and rockface shrine images, among which the second class is most substantial and can be subdivided into three groups: icons with a boat-shaped large aureole around the body, those without such an aureole, and those on steles. The dated earliest Puddhist image known so far in Shandong is made in the third year, Huangxing reign, Northem Wei dynasty (49 AD), and the latest, in the first year, Chengguang reign, Northern Qi dynasty (577 AD). The Buddhist iconography of the Northern Dynasties in the Shandong region went through four developmental stages: the middle Northern Wei from the Huangxing reign to the Taihe reign, the late Northern Wei from the reign of Emperor Xuanwu, the Eastern Wei, and the Northern Qi. In the first period period prevailed gilt bronze statues as well as single stone icons with a boat-shaped large aureole around the body; the subjects include cross-ankled Bodhisattva Maitreya, Buddha Maitreya, standing Buddhas, Prabhutaratna Buddha, Avalokitesvara, etc., the Buddhas having a squareround face, drooping shoulders and a flat breast, the fashionable dress being a double-shoulde-covering kasaya, with the pleats on the breast dropped down and spread symmetrically towards both sides from the body axis. The second period saw the new appearance of icons on steles and in rockface shrines, representing mainly Buddha Maitreya, standing Buddhas and Avalokitesvara. The Buddha’s face became meager, and the kasaya is easy, having a wide waistband and a drooping double-collar, with the pleats shown by means of deep, fine and dense lines and the lap ends flaring outwards, forming an acute angle. The third period features the development of numerous stone images without boat-shaped large aureoles around the body, which still represent Maitreya first and Avalokitesvara and standing Buddhas next. The Buddhas look mild and kindly, have a full, stubby body and wear a kasaya with the lower parts undulating gently and overlapping upon each other. The fourth period is characterized by the most abundance in both form and subject; the images represent Vairocana, Maitreya, Avalokitesvara, Amitabha, Crown Prince Gautama, etc. All of them are broad-foreheaded, full-faced, short-necked, swollen-breasted and stubby-bodied. The robes are pressed close to the body and reveal its outline distinctly, with the pleats shown succinctly by means of smoothtybulged lines.

Table of contents

一、形式分類 281
二、時代特點及其源流 290

ISSN

04532902 (P); 04532902 (E)

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