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早期的佛教彩塑=Earlier Buddhism Colored Sculpture |
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| Author |
金維諾
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| Source |
雕塑=Sculpture
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| Volume | n.6 |
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| Date | 2003 |
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| Pages | 36 - 39 |
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| Publisher | 中國工藝美術學會 |
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| Location | 北京, 中國 [Beijing, China] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 全文下載:中國期刊網－文史哲輯專欄目錄
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| Keyword | 雕刻=雕塑=Sculpture; 佛教造像; 涼州; 菩薩立像; 中心柱窟; 泥塑; 雕塑; 麥積山; 龜茲; 安西四鎮; 石窟; 名勝古跡; 交腳菩薩 |
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| Abstract | 佛教的早期遺物雖然在我國四川、江南等地有所發現，但在這些地區卻未遺存早期寺院，只是在新疆和河西一帶，隨著佛教的傳播，有遺存下來的寺、塔和石窟寺遺址。興建佛教寺院，這種淵源雖然是由亞洲西部傳到我國新疆地區，但由於不同的地理環境和材質特點，犍陀羅石雕藝術在這裏未得到發展，而彩妝泥塑和壁畫卻代替了石雕。當時鄯善、於闐、龜茲等地的藝術匠師根據當地的具體條件進行了創造，無論在寺院形制、窟室組合，以及泥塑彩繪等方面，都顯示了藝術家的才能。
Colored sculpture usually refers to colored clay sculpture. Most Buddhism statues might originally have pigmented finish, however, due to less adhesion and dropping tendency of carved stones, colored drawings can only be seen on few legacy carved stones. By contrast, clay sculptures have high plasticity and color adhesion, leading to rich colors and lasting features of colored clay sculpture.As shown by the fifteen temple relics unearthed in Ruoqiang County, Xinjiang, the time of these temple clay sculptures is about the 3rd to 4th century, when large colored sculptures could be created. It is clear that the tradition of combination of clay sculpture and colored drawing was gradually formed at the desert Qiuci, which gained further development in Dunhuang, Maijishan Mountain and other places. The form of colored sculpture had been spreading along the Gansu Corridor toward the inland, and rich experience for the development of colored sculpture had been accumulated in some famous sites like Liangzhou Grottos, Binglingsi Temple, Maijishan Mountain, Dunhuang Grottos, etc.When expressing the statues of Buddha "keeping still and in deep meditation", ancient Chinese artists had been emphasized on depicting their state-of-mind of "keep still and in deep meditation", i.e.. the wonderful flavor of quietness and "Buddhist pleasure" satisfying one’s body and mind as called by the Buddhists. Artists from Jiantuoluo highlighted the state of psychological quietness and reviewing thinking; artists from Qiuci described more about the joyful state of mind of Faxi; while artists from Liangzhou and Xiqin sought the most suitable expression between quiet thinking and Buddhist pleasure, which had presented a feature of mutual custom & cultural exchange and penetration among the southern, northern and aboriginal ethics.Development of Chinese earlier colored clay sculpture embodies the huge creativity and rich experience of sculptors from various ethic groups of China, which has provided a precondition for the glorious accomplishments in statuary art after the Southern and Northern Dynasties. |
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| ISSN | 10072144 (P) |
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| Hits | 272 |
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| Created date | 2005.01.07
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| Modified date | 2020.05.27 |
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