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The bibliographic record is provided by 李玉珉老師.
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| Author |
石松日奈子 (著)=Ishimatsu, Hinako (au.)
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楊效俊
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| Source |
考古與文物=Archaeology and Cultural Relics
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| Volume | n.6 |
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| Date | 2010.12 |
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| Pages | 79 - 91 |
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| Publisher | 陜西省考古研究所 |
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| Location | 西安, 中國 [Xi'an, 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 | 石松日奈子：清泉女子大學
楊效俊：陝西歷史博物館 |
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| Keyword | 石雕=Stone sculptures; 石獸=Stone Animal figures; 石人=Stone human figures; 石佛=Stone Buddhist images |
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| Abstract | In China, during the Han dynasty, large-scale, three-dimensional stone sculpture appeared. Stone animals and stone human figures were erected in front of tombs and on their approach routes. Chinese art, which had long loathed realistic representation of human body, began to turn towards the human body. However, these stone human figures were cloaked in thick garments, and their expression was nothing more than generalized surface treatments. In the first half of the 5th century, Chinese stone sculpture met an unprecedented foreign influence in its encounter with Buddhist art, and there was a rapid development of human figural sculpture viaBuddhist sculptures. In the Tang dynasty, a Chinese style of Buddhist sculpture, fitted with both bodily expression and decorative qualities, matured. On the other hand, the erection of stone sculptures and steles spread in the general classes and in regional areas, given the undercurrent of China's native preference for, and reverence of, jade. Chinese stone sculpture developed amidst a repetition of being greatly swayed by the "foreign" and held back by the 'traditional.' In the history of Chinese stone sculpture, it was always foreign cultures that brought the opportunity for the birth of new changes. |
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| Table of contents | 一、「雕刻」在中國古代美術史上的地位 79
二、西漢時期的苑池雕刻與石獸 80
三、東漢時期的石人 83
四、佛教造像的傳入與石雕的復興 85
五、民間造像中傳統的復活 87
六、結語—中國石雕中的「外來」與「傳統」89 |
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| ISSN | 10007830 (P) |
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| Categories | 佛教-歷史 |
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| Dynasty | 南北朝 |
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| Regions | 中國 |
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| Hits | 356 |
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| Created date | 2016.05.12 |
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| Modified date | 2019.10.17 |
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