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淺談三處宋代羅漢彩塑造像的藝術風格=On the Artistic Styles of Three Color-painted Arhat Sculptures of the Song Dynasty |
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| 著者 |
郭思瑤 =Guo, Si-yao
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| 掲載誌 |
文博=Relics and Museolgy
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| 巻号 | n.5 (總號=n.188) |
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| 出版年月日 | 2015.09 |
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| ページ | 109 - 112 |
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| 出版者 | 西安文物保護修復中心 |
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| 出版サイト |
http://www.xccch.net/
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| 出版地 | 西安, 中國 [Xi'an, China] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| ノート | 作者單位：西安碑林博物館 |
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| キーワード | 宋代=Song Dynasty; 羅漢=Arhats; 彩塑造像=Color-painted Clay Sculptures; 藝術風格=Artistic Styles |
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| 抄録 | 宋代為佛教中國化、世俗化、平民化的時期山西晉城青蓮寺、山西長子崇慶寺以及蘇州東山紫金庵等三處宋代彩繪泥塑羅漢造像，其人物面貌、姿態動作雖各不相同，但都以「以神入化，各現妙相」的人性之美，展示了宋代羅漢彩塑寫實、歸真、個性的創作風格。
The Song Dynasty is the period of Sinicization, secularization and popularization for the Buddhism in China. The color-painted Arhat clay sculptures in the Qinglian Temple at Jincheng City and Chongqing Temple at Zhangzi County, both in Shanxi Province,and the Purple Gold Nunnery at Suzhou City, Jiangsu, are all artworks of this time.Their facial features and postures are different from each other but all displayed the artistic style of realism, naturalness and individualization of the color-painted Arhat clay sculptures of the Song Dynasty by the aesthetics of "being true to life and showing various wonderful bearings". |
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| ISSN | 10007954 (P); 10007954 (E) |
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| ヒット数 | 231 |
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| 作成日 | 2020.01.06 |
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| 更新日期 | 2020.01.17 |
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