摘要
维摩诘图像实例首见于西秦炳灵寺169窟,半个世纪后,北魏云冈石窟中骤然出现维摩诘"问疾品""佛国品""香积品""观众生品""菩萨行品"等题材内容,并以对框式、同框式、多框式等形式呈现,开创了维摩诘造像的新时代,对北朝诸石窟寺产生了广泛深远的影响。石窟中故事图像雕刻艺术发生的变化与当时社会的发展密切相关,本文旨在调查云冈中、晚期洞窟维摩诘图像表现样式、题材内容,进而探讨其不同时期的艺术特征。
This thesis focuses on the Vimalakirti image of the middle and late Yungang Caves in feature,content and artistic style.The Vimalakirti images of various themes and forms appeared in the Yungang Grottoes of the Northern Wei Dynasty about half a century after the first was found in Cave 169 of the Binglingsi Grottoes of the Western Qin period,ushering into the new era of Vimalakirti image,followed by extensive and far-reaching impact upon the stone cave temples of the Northern Dynasties.
出处
《故宫博物院院刊》
CSSCI
北大核心
2021年第7期39-53,140,共16页
Palace Museum Journal
关键词
云冈
维摩诘
文殊
图像
Yungang
Vimalakirti
Manjusri
tales
image
