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四川宋代石刻菩薩像寶冠造型分析=An Analysis of the Coronet Modeling of the Song Dynasty Stone Bodhisattvas in Sichuan
Author 齊慶媛
Source 敦煌研究=Dunhuang Research
Volumen.2 (總號=n.144)
Date2014.04
Pages40 - 52
Publisher敦煌研究編輯部
Publisher Url http://www.dha.ac.cn/
Location蘭州, 中國 [Lanzhou, China]
Content type期刊論文=Journal Article
Language中文=Chinese
Keyword卷草紋寶冠; 牡丹紋寶冠; 服飾; 四川宋代菩薩像
Abstract本稿以實地調查與學界披露的相關資料為基礎,比較詳細地分析了四川宋代石刻菩薩像寶冠造型,存在卷草紋與牡丹紋兩類寶冠,北宋晚期至南宋晚期獲得長足發展。卷草紋寶冠上承唐、五代傳統,在吸收宋代世俗卷草紋因素后繼續發展。牡丹紋寶冠為菩薩像造型的創舉,是宋人酷愛牡丹及牡丹栽培中心南移四川的產物。北宋晚期至南宋早期,這兩類寶冠的造型靈活多變,尤其紹興年間(1131-1162)彰顯新時代創造力。南宋中晚期,這兩類寶冠的造型繁縟細密達到極致。四川宋代石刻菩薩像寶冠造型演化,深刻地反映了佛教藝術民俗化、地域化的過程。

Based on field investigation and published materials, this paper presents a detailed analysis of the coronets of Song dynasty stone bodhisattvas in Sichuan province and comes to the following conclusions: coronets with patterns of coiled floral and peony were highly developed from late Northern Song to late Southern Song dynasty. Inheriting the traditions of the Tang and Five Dynasties and absorbing the elements of secular coiled floral designs in the Song dynasty, the coronets with coiled floral designs were further developed; coronets with peony designs were a creation for Bodhisattva images because the peonies were very popular among the Song dynasty people and the center of peony cultivation moved to Sichuan. From the late Northern Song to early Southern Song dynasty, the two kinds of coronets were flexible in design, especially in the Shaoxing era( 1131-1162) during the Southern Song dynasty, which showed the creativity of that time. In late Southern Song dynasty, the patterns of these two types reached their perfection. The evolution of the coronets of Song dynasty stone bodhisattvas in Sichuan reflects the secularization and localization processes of Buddhist art.
ISSN10004106 (P)
Categories雕塑造像; 裝飾圖案
Dynasty宋代
Regions四川
Hits224
Created date2016.05.12
Modified date2018.05.22



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