北周佛教美术研究:以长安造像为中心

北周佛教美术研究:以长安造像为中心
ISBN-10
7509747783
ISBN-13
9787509747780
Category
Religion / General
Pages
309
Language
Chinese
Published
2013-01-01
Publisher
社会科学文献出版社
Author
王敏庆

Description

敦煌莫高窟是我國四大佛教石窟之一,在佛教藝術史上占有極為重要的地位。在莫高窟北周窟中,其造像風格、洞窟布局與前代石窟相比呈現兩個顯著特點:一是西魏時的「秀骨清像」式造像風格為一種面相渾圓、身體豐壯的風格所取代;二是千佛圖像面積增大,佛傳、本生故事等原本放在重要位置(牆中部) 的佛畫內容被移到次要位置的窟頂。要解釋這些現象,就必須廓清北周都城長安的佛教藝術面貌,然而至今關於長安佛教藝術的面貌仍然模糊不清。

王敏慶所著的《北周佛教美術研究--以長安造像為中心》以長安造像為中心,首先解決長安造像的藝術特點、成因、形成時間及影響等問題。關於這些問題的探討,主要解決的是北周佛教美術的歷史地位問題。

北周的佛教藝術是如一些學者所認為的那樣是受東魏、北齊影響,並將這種影響帶入隋、唐,還是它創造了屬於自己的風格,並影響了隋、唐?

陳寅恪先生在其關於隋唐制度淵源研究的專著中,對北周制度持一種「否定」態度,指出北周制度是一種應一時之需的過渡性制度,隋唐制度多承自南朝和北齊。他的論斷也影響到美術史學者對北周佛教藝術的認識。

此外,由於北周長安造像出土較少,也使人們忽略了對長安的研究,致使在南北朝晚期佛教藝術傳播的研究中出現缺環,從而影響了人們的判斷。敦煌地接西域,屬北周轄境,是北周對外交往的門戶。

莫高窟北周窟是《北周佛教美術研究--以長安造像為中心》考察的另一個重點。北周窟內壁畫布局的變化折射出北朝晚期佛教藝術傳播方向的改變,它體現了中原佛教逐漸成熟,並向周邊傳播。絲綢之路東段北道在這個自東向西的藝術傳播中起着相當重要的作用

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