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金代与西夏菩萨像数量众多且变化多端,在中国佛教造像体系中占据重要位置。笔者基于实地调查和学界披露的相关资料,采用考古类型学与美术史样式论相结合的方法,着眼于菩萨发髻与宝冠、服装、装身具、躯体形态四个方面,在尽可能细致地分类、排比的前提下,阐释菩萨像造型的发展规律。金代前期菩萨像主要继承辽代、北宋传统,宝冠、服装与装身具形式多样又复杂。金代后期菩萨像形成自身特点,头戴卷曲雀尾形高冠,躯体宽厚壮健,表情威严肃穆,充溢着阳刚之气。西夏菩萨像因素分别来源于宋、辽、金乃至唐、五代,于后期形成优稚华贵的艺术风格,其中游戏坐菩萨像获得充分发展,造型自由多变,神态安洋自在,世俗化倾向显著。本考察有助于加深对金代和西夏佛教物质文化的认识。
The large and varied images of the Jin and Xixia Bodhisattvas occupy an important place in the Chinese Buddhist statues system. Based on the field investigation and relevant information disclosed by the academic circles, the author uses the method of archeology typology and art history style to focus on the Buddha bun and treasure crown, clothing, costume and body form, Arrangement under the premise of interpretation of the Buddha as the shape of the law of development. Early Golden Age Bodhisattva as the main successor to the Liao Dynasty, the Northern Song Dynasty tradition, crown, clothing and equipment with various forms of complex and complex. In the late Jin dynasty, the Bodhisattva statue formed its own characteristics, wearing a curly-tailed crowned crown, its body was generous, solemn, and solemn, full of masculinity. The elements of Xixia Bodhisattva came from the Song, Liao, Jin and even Tang and Five Dynasties respectively. In the latter part of the century, they formed a childlike and luxurious art style. Among them, the Bodhisattva statue enjoyed full development and the style was free and changeable. This study helps to deepen the understanding of the material culture of the Jin and Xixia Buddhism.