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十六国时期铜佛禅定坐像,受犍陀罗艺术风格和传统汉地审美的影响,特征表现融合且独立。造像个体的存在或形式特征的异同,是佛教满足社会需求的产物,是信仰精神的载体。此时期铜佛禅定坐像满足了十六国社会各个阶层需求,发挥着政治思想统一、精神慰藉、道德教化和文化传播的社会功能,展现了其特有的文化价值。本文结合文献图录资料和首都博物馆馆藏实物资料,对部分此时期铜佛禅定坐像开展对比研究,并发掘其在所在社会中“需求”与“功能”的内在联系。
During the period of the Sixteen Kingdoms, the meditations of the Buddha of Buddha and Buddha are influenced by the artistic style of Gandhara and the aesthetic experience of the traditional Han Dynasty. The characteristics of the Buddha statue are harmonious and independent. The similarities and differences in the existence or formal characteristics of statues are the product of Buddhism to meet the needs of society and the carrier of faith. During this period, Buddhism Buddha meditated to meet the needs of all social strata in the 16 countries and exerted the social function of political and ideological unification, spiritual comfort, moral education and cultural transmission, which demonstrated its unique cultural value. Based on the bibliographic data and the collections of the Capital Museum, this paper conducts a comparative study of some Buddhist statues of Buddhism and Buddhism during this period and explores its intrinsic relationship between “needs ” and “functions ” in the society where they live.