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随着北魏太和十八年(公元494)孝文帝迁洛,石窟寺开凿的重点,也由云冈转移到龙门。文成帝和平年间(公元460-465)开凿的昙曜五窟,主尊大都面型方圆、高鼻挺直、偏袒右肩、雄浑粗犷,受印度键陀罗样式和“凉州模式”的影响。太和十年(公元486)的孝文改制,则促进了落后的鲜卑族的汉化进程,崇尚褒衣博带、“秀骨清像”那种审美情趣。这在昙曜五窟以后云冈的几组双窟中已初见端倪。北魏都洛四十年间,除了龙门古阳洞上层列龛造像尚且保留“云冈模式”中昙曜五窟的某些特点外,占阳洞下层列龛和宾阳中洞、莲花洞、皇甫公窟等洞窟造像业已汉化,供养菩萨、供养人形象的“秀骨清像”风格相当显著,尤以古阳洞北壁一幅高21、长53厘米的小型王妃礼佛图,人物形象格外修长淑美,伴随着宗教音乐的节奏旋律,虔诚地徐徐前行。画面和谐、舒朗、简洁、完整。这类褒衣博带、秀骨清像式的人物形象与艺术风格,洛阳邙山出土的北魏画像石棺上的夫妇升仙与孝子故事画像,也为之传神写照。
With the northern Wei Tai Wo eighteen years (AD 494) Takamori emperor moved Los, cave temple cut the focus, but also transferred to the Dragon Gate from Yungang. Wen Cheng emperor during the peace years (AD 460-465) dug Tan Yao five grottoes, the Lord respect mostly face radius, high nose straight, favor the right shoulder, vigorous rough, by the Indian key dalai style and “Liangzhou mode”. The filial piety reform in Taihe Ten Years (AD 486) promoted the process of localization of the backward Xianbei people and advocated the aesthetic taste of “Bo Xiu Qing”. This group of double caves in Yungang after Tan Yao five caves have begun to emerge. In the forties of the Northern Wei Dynasty, apart from some of the features of the Tanya Wu Cave in the “Yungang Model”, the lower niche of the Yangdong Cave and the Binyang Cave, Lotus Cave and Huangfu Grottoes and other cave caves have been finished, to support the bodhisattva, supporting the image of “Xiu Guqing like” style is quite significant, especially in the ancient northern wall of a hole 21, a 53 cm long small princess Li Buddha figure, the character is particularly slender Shu Mei, along with the rhythm of religious music melody, devoutly slowly forward. Picture harmony, Shulang, simple and complete. This kind of praised clothing Bo band, Xiu Guqing style figures and artistic style, Luoyang Dangshan Northern Wei Dynasty portrait of the sarcophagus on the sarcophagus couple portrait of fairy tale and filial piety, but also vivid portrayal.