摘要
本文通过将犍陀罗佛教造像中的白马告别造像题材与中国境内的同类题材相比较,认为白马告别样式的中国样式始于云冈,继而定型并确立于龙门为中心的洛阳地区,于邺城地区发展为多样化。而邺城地区的白马告别样式呈现出多元性的特征,反映了邺城地区的白马告别是同类造像题材的集大成者,也将同类造像艺术推到了顶峰。从这三个佛教造像中心地区白马告别样式表现出的继承和发展特征来看,可知佛教造像样式在传播过程中不断融合本土和时代因素,并在不断融合中达到造像艺术的顶峰,而不是一蹴而就形成的。同时,其传播模式也有渐进式和中心开花式两种。
By comparing the theme of the White Horse Farewell in Gandhara Buddhist statues with similar themes in China,this paper argues that the sinicization of the White Horse Farewell style originate in Yungang,then was shaped and established in the Luoyang area centered on Longmen,and developed pluralistically in the Yecheng area.The White Horse Farewell style in the Yecheng area shows the multi-characteristics of pluralism,reflecting that the White Horse Farewell in the Yecheng area is the synthesizer of similar statue themes,which promoted the art of similar statues to the summit.Judging from the White Horse Farewell style's characteristics of the inheritance and development in the three centers of Buddhist statue,it can be seen that the Buddhist statue style has continuously integrated local and contemporary factors in the process of dissemination,and reached the peak of art ultimately,rather than forming overnight.At the same time,its propagation also has two modes:progressive mode and central flowering mode.
作者
冉万里
Ran Wanli(School of Cultural Heritage,Northwest University)
出处
《西部考古》
2022年第2期185-212,共28页
关键词
白马告别
犍陀罗
云冈样式
龙门石窟
邺城地区
the White Horse Farewell
Gandhara
Yungang Style
Longmen Grottoes
the Yecheng Area
