Freer Gallery of Art, The Smithsonian Institution and Department of the History of Art, University of Michigan
出版地
Michigan, US [密西根州, 美國]
資料類型
期刊論文=Journal Article
使用語言
英文=English
關鍵詞
區域風格; 印度影響
摘要
The Indian aesthetic and specific Indian Buddhist motifs played a prominent role in the artistic landscape of sixth-century China. The earliest reaction to Indian models took place in Sichuan, and to a lesser extent in Shandong, in the first half of the sixth century. By the second half of the century the art of the subcontinent impacted northern China and gave rise to two divergent styles, Northern Zhou and Northern Qi. Assimilation and transformation of Indian sources increased substantially during the sixth century because of the augmented importance of the maritime route vis-à-vis the Central Asian route. This investigation seeks chiefly to clarify whether the sculpture of Sichuan embodies the style of the South, which has so far eluded us due to the paucity of extant works from Nanjing. A focus on regionalism draws attention to the strong local variations which occurred not only in the artistic production of North and South, but also within these two broad geographic divisions. The combination of Indian aesthetic and its varying interpretations in different areas of China made the sixth century one of the most inventive and prolific times for the production of Buddhist sculpture.
目次
Indian Components in the Buddhist Sculpture of Sichuan and Shandong before 550 71 Indian Components in the Buddhist Sculpture of Northern Qi and Northern Zhou after 550 82 NOTES 92
