【作者】 刘颖；

【导师】 林木；

【作者基本信息】 四川大学 ， 美术学， 2005， 硕士

【摘要】 自十六国至南北朝时期,翻越崇山峻岭、横跨茫茫沙漠而波及至古代中国的佛教及其艺术,对美术之发展产生了巨大影响,在南北朝至隋唐佛教美术史上写下了辉煌篇章,北朝石窟艺术则又是其中最亮丽的一页。遍布中国北方的石窟寺都不是孤立存在的,这些在同一文化圈内存在的艺术现象因地域的差异而具有突出的个性特征,同时又不可避免的有着这样或者那样的联系,它们之间的关系错综复杂。各石窟之间的文化艺术传播的内在联系依然是石窟艺术研究重要的课题之一。 在前辈们的研究基础上,本文借助文献学、社会学等研究方法,从历史和文化的角度,深入比较了麦积山石窟、云冈石窟北朝早期、晚期佛像造像风格的异同。麦积山石窟十六国后期受西域、凉州造像影响而凿建的佛像风格,在云冈石窟早期佛像中有继承也有发展的痕迹。北魏中后期,日渐成熟的“云冈模式”又主导着北方石窟艺术的发展,佛教艺术自西向东传播的路线逆向转变为自东向西发展。在这股逆向传播的潮流中,麦积山石窟北魏中、后期佛像表现出受中心模式影响的趋势,在延续原有造像样式的同时又参考了云冈石窟早、中期造像样式的装饰因素。北魏迁都洛阳以后,仿效云冈石窟凿建的龙门石窟占据了石窟造像的中心地位,以其成熟的中原造像模式继续自东向西产生影响,远及敦煌。龙门中原造像模式的影响在麦积山石窟北魏中、后期的造像中犹为突出。 促成在不同地点、不同时间段塑造的佛像相似性的主要因素并非单一更多还原

【Abstract】 From Sixteen Countries to North and South Dynasty, Buddhism culture and art affected Ancient Chinese art greatly. It wrote down the brilliant chapter about the Buddhism art from North and South Dynasty to Sui and Tang Dynasty in Chinese art history. The North Dynasty’s grotto art is the brightest folio of this chapter. The grottos in the north China are not isolated. Each one has its own characters, and at the same time has connections with others. Theirs connections are anfractuosities. The important question for discussion is still the inherent connections between grottos in course of the culture and art transmission.On the basis of some scholar’s study, from the point of view of history and culture, I compare the statue’s style of Maiji Mountain Grotto and Yungang Grotto in Bei Dynasty in virtue of study methods of Philology and Sociology. In the nonage of Beiwei, Yungang Grotto’s figure of Buddha joss inherited and developed the statue’s style of Maiji Mountain Grotto, which was made in the evening of Sixteen Countries and influenced by Liangzhou Style. When the mature "Yungang Mode" leaded gradually the development of northern grottos in the middle and evening of Beiwei, the way that the Buddhism art transmitted from the west to the east changed its direction from east to the west. The figure of Buddha joss of Maiji Mountain Grotto showed the influence of the center mode in the middle and evening of Beiwei. After Beiwei moved the captial to Luoyang, Longmen Grotto took up the center of Buddhism art, which was built up in the wake of Yungang Grotto. Its Chinese style Buddha statues continued to influence the grottos from the east to the west, including Maiji MountainGrotto and Dunhuang.The reason, why the Buddha statues have comparability in different places and in different time, is not singularity. Buddhist missionized Buddhism in a tour. In order to propagate Buddhism, the famous dignitaries contacted with the governors closely. People were migrated to other places because of the wars or the governors’ order. All of these forced the statues style transferred between the two places. No matter how the Buddhism culture and art transmitted, no matter which direction the Buddhism culture and art transmitted on the ground of Ancient China, it was always restricted by Chinese traditional culture. The restriction and unification of Chinese traditional culture was showed as commonness in the grotto art.更多还原