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盛唐佛教藝術史發展研究=Transformation of Buddhist Art in the High Tang Period |
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顏娟英 (著)=Yen, Chuan-ying (au.)
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| Date | 1993.11 |
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| Pages | 36 |
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| Publisher | 行政院國家科學委員會 |
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 其他=Others |
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| Language | 中文=Chinese |
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| Note | 執行研究：中央研究院歷史語言研究所 |
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| Keyword | 佛教=Buddhism; 唐玄宗=Tang Xuan Zung; 藝術=Art |
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| Abstract | 唐代玄宗朝的文化雖一向被認為是興盛而成熟的，亦即號稱盛唐表現。然而目前看來，玄宗朝文化在許多方面，尤其指與帝室相關的大規模文化宗教建設，不過是延續武周朝以來的發展，甚而逐漸趨於衰退或轉變。本文首先檢討玄宗的宗教政策，再分析當時佛教的新興宗教即密教傳播到中國來的特質。接著進一步重新檢討佛教造像自武周朝如何轉變到玄宗時代，其間有許多造像的風格斷代也因此有了嶄新的視點與論斷。
In the past, High Tang period, namely the Emperor Xuan zung (玄宗713-755) era, was considered to have reached the peak of Tang culture spreading its influences towards the neighboring countries. In a closer examination, however, the brilliant creativity of Buddhist cave temple art in the late seventh and early eighth centuries had gradually lost its energy in the Xuan zung era.
This paper analyses the center force of the transformation, especially the esoteric Buddhist art that reached China about this time. Furthermore, it further examines some Buddhist cave temples, which could be dated in the eighth century in order to explain how the transformation took place. |
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| Hits | 485 |
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| Created date | 2000.12.07
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| Modified date | 2020.11.24 |
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