北齐双树背屏式佛造像形成新探  

A New Exploration into the Formation of Double-Tree Back Screen Buddha Statues in the Northern Qi Dynasty

作　　者：李婧 张廷波 Li Jing;Zhang Tingbo(Taizhou University,Taizhou 318000)

机构地区：[1]台州学院,台州318000

出　　处：《新疆艺术学院学报》2024年第2期36-49,共14页Journal of Xinjiang Arts University

摘　　要：邺城北吴庄出土的北齐双树背屏式佛造像,以其独特双树样式与透雕工艺闻名于现存南北朝佛教造像。通过梳理此类造像样式与工艺脉络可知,双树背屏样式受甘陕佛教造像双树龛样式影响,是由西魏降民带至邺城。双树背屏式佛像在北齐时装饰一些象征净土世界的物象,如化生童子与水禽等,由此双树图像从古印度佛教美术中作为佛陀、林间的象征,转变为净土空间的象征。这是净土思想在北齐皇家、王族、平民之间流行的结果。The double-tree back screen Buddha statue of the Northern Qi Dynasty unearthed in Wuzhuang,north of Yecheng is famous for its unique double-tree style and openwork carving technology among the existing Buddhist statues of the Northern and Southern Dynasties.By sorting out the styles and the development of craftsmanship of such statues,it can be seen that the double-tree back screen style was influenced by the double-tree niche style of Buddhist statues in Gansu and Shaanxi.It was brought to Yecheng by the surrendering people of the Western Wei Dynasty.The openwork carving technology was benefited from the development of the iron industry in the Eastern Wei Dynasty.The double-tree back screen style Buddha statue was decorated with some objects symbolizing the Pure Land world during the Northern Qi Dynasty,such as reincarnated boys and waterfowl.As a result,the image of the double trees has transformed from being a symbol of the Buddha and the forest in ancient Indian Buddhist art to a symbol of the Pure Land.This is the result of the popularity of the Pure Land ideology among the royal and commoners of the Northern Qi Dynasty.This style also served as a prelude to the image of the Pure Land transformation in the Sui and Tang Dynsties.

关 键 词：北齐 双树背屏式佛像 透雕 

分 类 号：J315[艺术—美术] K879.3[历史地理—考古学及博物馆学] K239.24[历史地理—历史学]