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有關早期佛教美術考古的兩個問題=Two Issues Regarding Early Buddhist Art Archaeology |
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黃文昆 (著)=Huang, Wen-kun (au.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.3 (總號=n.175) |
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| Date | 2019 |
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| Pages | 46 - 54 |
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| Publisher | 敦煌研究編輯部 |
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| Publisher Url |
http://www.dha.ac.cn/
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| Location | 蘭州, 中國 [Lanzhou, 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 | 作者單位：文物出版社 |
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| Keyword | 佛圖澄=Fo Tucheng; 金銅佛=gilt bronze Buddha statues; 涼州石窟=Liangzhou caves; 北魏太武帝滅法=suppression of Buddhism in the reign of Emperor Taiwu of the Northern Wei dynasty; 中心塔柱=central pillar |
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| Abstract | 十六國時代的歷史,以淝水之戰劃界分為前後兩期,佛教美術也有相應的兩個發展階段。前期的第一階段,後趙由國師佛圖澄主導自上而下傳播佛教,鑄造金銅佛數量巨大、遍及北中國、延續百年。大戰之後,後秦、西秦、北涼崛起,開窟造像蔚成風氣,造像、壁畫成規模組合,為十六國佛教美術的第二階段。石窟模式,耳熟能詳者有涼州模式和雲岡模式。前者是一個虛擬的概念,意在啟迪對北涼的研究。而後者,雲岡二期、三期造就北魏石窟模式,但云岡一期不應包括在內。大時代之交因滅法而斷層,必要的過渡期獨具特色不可復制。
The history of the Sixteen Kingdoms period is traditionally divided into two phases by the Battle of Feishui, a division that corresponds to the Buddhist art of this period as well. In the first phase that lasted for one century, Buddhism was spread from the upper to the lower classes by the nationally recognized master of studies Fo Tucheng in the Later Zhao dynasty, a social change which was accompanied artistically by the widespread casting of gilt bronze Buddha statues throughout northern China. After the Battle of Feishui, the Later Qin, the Western Qin, and the Northern Liang rose to power and building caves and making statues became very popular Buddhist practices, which were accompanied by the new artistic form of large-scale wall paintings. The cave structures people today are most familiar with include the Liangzhou modes and the Yungang modes: the former, being an abstract concept, inspired research on Northern Liang Buddhist art, while the latter refers to the Northern Wei caves built in the second and third historical phases at Yungang. The spread of Buddhist teachings and art was interrupted each time dynastic power changed hands, but many transitional periods left behind fascinating and unique archaeological traces, sometimes even changing the mode in which future art was to be created. |
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| Table of contents | 一 十六國時代佛教造像的兩個階段 47
1.第一階段, 淝水之戰前的單尊像 47
2.第二階段, 大戰之後開窟造像 48
二 關於模式的兩點思考 49
1.推想中的涼州模式 49
2.雲岡模式成就北魏樣式 51
3.雲岡一期, 模式的前奏 52 |
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| ISSN | 10004106 (P) |
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| Hits | 258 |
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| Created date | 2020.11.09 |
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