广西桂林唐代摩崖造像风格样式与来源  

On the Style and Origin of Cliff Statues of Tang Dynasty in Guilin,Guangxi

作　　者：胡春涛[1] HU Chuntao

机构地区：[1]广西艺术学院造型艺术学院,广西南宁530022

出　　处：《艺术探索》2020年第6期41-53,共13页Arts Exploration

基　　金：广西壮族自治区哲学社会科学规划一般项目“桂林唐宋时期摩崖造像的艺术考古学研究”(15BKG001)。

摘　　要：桂林摩崖造像与唐代两京地区佛教造像保持了密切的联系。从风格来源与传播途径来看,桂林摩崖造像中以菩提瑞像为本的同茎莲座佛像属于印度萨尔纳特风格,其风格直接与唐代两京地区有密切关系,而非通常所称的通过南海道传播而来。发源于印度的风格传入中原地区,形成具有本土化色彩的佛教造像,这种风格继续向南传播,直接影响了桂林以西山第75龛、第85龛为代表的摩崖造像。Guilin Cliff Statues maintained close contact with Buddhist statues in Chang’ an and Luoyang of the Tang Dynasty.From the perspective of the source of style and the way of dissemination,the Buddha statue with a rosette based on the Bodhi statue in the Guilin Cliff Statue belongs to the Indian Sarnath style.Its style is directly related to those in Chang’ an and Luoyang in Tang Dynasty,rather than the saying that it spread through South China Sea.The style originating in India was introduced into the Central China,forming localized Buddhist statues.This style continued to spread southward,directly affecting the cliff statues represented by the 75th and 85th niches of the Xishan Mountain in Guilin.

关 键 词：桂林摩崖造像 风格样式 风格来源 传播途径 

分 类 号：K879.3[历史地理—考古学及博物馆学] K242[历史地理—历史学]