五代时期佛教雕塑的前朝传统与创新性  

The Tradition and Innovation of Buddhist Sculptures in the Five Dynasties Period

作　　者：常青 Chang Qing

机构地区：[1]四川大学艺术学院,四川成都610000

出　　处：《南京艺术学院学报（美术与设计）》2024年第1期160-165,I0012,共7页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：教育部哲学社会科学研究重大课题攻关项目《中国佛教雕塑史研究》(20JZD042)阶段性研究成果。

摘　　要：全国现存的10世纪佛教艺术分布不均衡,敦煌、山西、四川盆地、江浙保留较多,主要来自敦煌曹氏归义军、北汉、吴越国、南唐、前后蜀,艺术面貌差别较大。五代十国时期的佛教雕塑既保留着很多唐代或前朝传统,也具有鲜明的地方特色。另外,这个时期的佛教及其艺术的中国化与世俗化倾向更加强烈,适合中国人的审美标准。The existing Buddhist art from the 10th century is unevenly distributed across the country.It is mostly preserved in Dunhuang,Shanxi,Sichuan Basin,Jiangsu and Zhejiang provinces.They respectively belong to Dunhuang Cao's government(914—1036),Northern Han Kingdom(951—979),Wuyue Kingdom(907—978),Southern Tang Kingdom(937—975),and Early and Late Shu kingdoms(907—925,934—966),with different artistic appearances.The Buddhist sculptures of the Five Dynasties and Ten Kingdoms periods(907—979)not only retain many traditions of the Tang Dynasty(618—907)or previous dynasties,but also have distinctive local characteristics.Secondly,Buddhism and its art during this period were more sinicized and secularized,which suited the aesthetic tastes of the Chinese people.

关 键 词：佛教雕塑 北汉 前后蜀 南唐 吴越国 

分 类 号：J315[艺术—美术]