大同云冈北魏中晚期窟龛佛像造型分析——以双领下垂式袈裟佛像为中心

发布时间：2019-01-18 13:05

【摘要】：本文以大同云冈北魏中晚期窟龛着双领下垂式袈裟佛像为研究对象,根据袈裟形式的差异将其分为两类。第一类佛像大致流行于北魏太和十年至迁都洛阳之初(486-500),主要分布于云冈第二期后段窟龛,是在云冈旧有佛像造型基础上加入南朝因素发展而成,坐像悬裳从无到有并日益受到重视,立像袈裟由简洁质朴向繁缛华丽转变。第二类佛像出现于云冈第二期后段窟龛(始于490年前后),主要分布于云冈第三期窟龛(494年前后-524),造型再次吸收南朝因素,坐像侧重于覆座悬裳的表现,立像袈裟日趋短窄。北魏中晚期佛像磨光发髻占有多数,波形发髻主要集中于第6窟,坐像与立像分别维系在4头高和6头高左右,服饰成为造型的重心所在。
[Abstract]:In this paper, the double-collar pendant cassock Buddha statue in the north Wei grottoes of Yungang, Datong, is studied, and is divided into two categories according to the difference of cassock form. The first kind of Buddhist statues were generally popular in Taihe, Northern Wei Dynasty, from the beginning of ten years to the beginning of Luoyang (486-500), mainly distributed in the cave niches of the second stage of Yungang, and developed from the addition of factors in the Southern Dynasty on the basis of the old Buddhist statues in Yungang. Sitting and hanging clothes from scratch and increasingly attention, like robes from simple to elaborate gorgeous transformation. The second kind of Buddha statues appeared in the second stage of Yungang Grottoes (beginning around 490 years), mainly distributed in Yungang III Cave niches (-524 before and after 494). The shapes again absorbed the factors of the Southern Dynasty, and the sitting images focused on the performance of overlying and hanging clothes. The robes are getting shorter and narrower. In the middle and late period of the Northern Wei Dynasty, the polished hair bun of the Buddha statue is the majority, the wave bun is mainly concentrated in the 6th Cave, the sitting image and the standing image are maintained at the height of 4 heads and 6 heads respectively, so the dress becomes the center of the shape.
【作者单位】：天津美术学院雕塑系;
【分类号】：K879.3

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