摘要
20世纪初的西方来华考古探险潮,让中国石窟寺遗迹成了“重新被发现的”珍宝之窟。石窟寺中丰富的古代佛教造像,满足了西方人长久找寻的中国古代“造型艺术”的愿望。然而,中国佛教造像在国际世界的名声大噪,却引发了大规模的石窟寺盗凿和佛头贩卖。1913年,巴黎赛努奇博物馆的亚洲佛教艺术展览引起西方收藏界对中国古代雕塑的追捧,成为中国美术史书写的转折点。文章聚焦1913—1914年的龙门石窟事件,揭示外部世界对中国石窟寺所投射的目光,一方面加剧了“作为艺术品的佛头”的暴力掠夺与国际收藏;另一方面又激发了中国政府开启“作为整体文化遗产”的石窟寺保护事业。作为后发现代国家,发生在中国石窟寺空间中的暴力与掠夺,让佛像和人在旧世界中所建立的宗教圣像关系慢慢出现缝隙,新的审美关系与现代文物意识开始逐步建立。
Western archaeological expeditions in China at the beginning of the 20th century have shed light on the Chinese Buddhist cave temples as“long-lost treasure”.The rich array of ancient rock carved Buddhist statues satisfied the pursuing of Chinese plastic art that sinologists and western collectors have long sought.The rising reputation of Chinese Buddhist statues,however,has triggered a large-scale Buddha head trafficking and destruction of cave temples.In 1913,the great success of the Asian Buddhist Art Exhibition at the Cernuschi Museum in Paris inspired great interests in western collectors in Chinese ancient sculptures,and became a turning point in the writing of Chinese art history.This essay examines the 1913-1914 Longmen Grottoes Incident,revealing how western gaze has changed,shaped and destroyed art object.The“rock-carved Buddhist statue as work of art”,on one hand,boosted the international art market and museum collections;on the other,the plunder and violence that took place in Longmen taught a lesson to the Chinese government to reconsider preserving cave temples as monument.Religious icons were transformed gradually into art object,and laws and regulations were formulated to preserve monuments such as the cave temples.
作者
周孟圆
ZHOU Mengyuan(Department of Cultu ral Heritage and Museology,Fudan University,Shanghai 200433,China;School of Art of Soochow University,Suzhou Jiangsu 215000,China)
出处
《自然与文化遗产研究》
2021年第6期35-44,共10页
Study on Natural and Cultural Heritage
基金
苏州大学艺术学院青年教师研究基金项目(YSQJ2020002)资助。
关键词
石窟寺破坏与保护
马克密
龙门石窟
佛教造像
文物保护观念
preservation and destruction of grottoes
Fredrick McCormick
Longmen Grottoes
Buddhist statue
cultural heritage conservation ideals
