西胡化风潮下的北齐佛教艺术  

The Buddhist Art of the Northern Qi Dynasty Under the Influence of Xihu Style

作　　者：李聿骐 Li Yuqi

机构地区：[1]故宫博物院宫廷部

出　　处：《文物》2021年第10期47-62,1,共17页Cultural Relics

基　　金：2015年国家社会科学基金重大项目《中印石窟寺研究》(批准号:15ZDB058)的成果之一。

摘　　要：以邺城为中心的东魏、北齐佛教艺术,跟前期相比发生了较大变革,早已引起国内外学术界的关注。笔者拟从政治变革和艺术革新两个方面来探讨西胡化风潮下的北齐佛教艺术。一政治变革在北齐诸项社会制度改革中,汉化、鲜卑化与西胡化进程的羁绊与发展,是其社会发展中最核心、最关键的命题,其中尤以西胡化最为显著。The Northern Qi regime was established by the Xianbeilized Han people and was assimilated by Xihu customs after founding the state. The political aspect is mainly represented in the Northern Qi imperial family favoring the Hu people while putting the eminent monks from Tianzhu and the Western Territory in a vital position. On the artistic level, it also shows the trend of returning to Tianzhu orthodoxy or Xihu style. This paper demonstrates these ideas through two points. First, it is speculated that the square pagoda in the site of Zhaopengcheng Buddhist Temple in Yecheng and the stone pagoda unearthed from the Buddhist sculptures pit at Bei Wuzhuang, obtaining a close relation with the Buddhist pagoda in the Swat area. Therefore, it is further proved the facade of the inverted-bowl style pagoda-shaped niche in the Xiangtangshan Grottoes can be regarded as an imitation of this type of above-ground pagodas. Second, the garments of buddha and disciple statues in the Xiangtangshan Grottoes have not inherited the baoyi-bodai style from the Emperor Xiaowen of Northern Wei, while transformed into a right-bare draping style.

关 键 词：政治变革 佛教艺术 北齐 艺术革新 鲜卑化 胡化 东魏 风潮 

分 类 号：K879.3[历史地理—考古学及博物馆学] J19[历史地理—历史学] K239.24[艺术—艺术理论]