魏晋南北朝在中国历史上所占的年代不算很长,此间朝代更换频繁,各诸侯国征战连年,当时整个社会有一种不稳定感。上至士大夫、朝廷重臣,下至平民、布衣,都有一种遁世的心态,这从那时盛行的养士之风、竹林七贤等代表时尚可见一斑。人们对时世战乱不休,朝廷、党羽钩心斗角大为反感且又非常无奈,这种对现实的社会生活无力把把握,对当权者失去信心,再加之魏晋时期佛教的悄然进入等原因促使当时高层文化圈内出现了玄学并热衷此道,人们为自己的精神找寻一种慰籍,故而形成当时特定的时尚与社会氛围。 在这种特定的时代环境中,人们想淡化生活,在精神领域达到一种平衡以超脱现实,这可以从云岗石窟、麦积山石窟、陶渊明的诗作散记中体会到。当时石窟中佛教人物及供养人造像特点多为瘦骨清像,身体多为细瘦、纤长、骨感清晰、淡化肉体,突出和强调了精 The years of Wei, Jin and Northern and Southern Dynasties in Chinese history were not very long. During this period, the dynasties were replaced frequently and the vassal states were experiencing war after years. At that time, the whole society had a sense of instability. From the doctor to the court, the imperial court ministers, down to the common people, commoner, have a reclusive attitude, which is popular from then on the style of the bishop, bamboo Seven gentlemen and other representatives of fashion can be seen. People are extremely offensive to the imperialists and the Party members in the midst of chaos and humiliation. They are unable to grasp the actual social life, lose confidence in the authorities, and quietly enter Buddhism in the Wei and Jin Dynasties. The emergence of metaphysics in the cultural circle and keen on this road, people find a sense of comfort for their own spirit, it was the formation of the particular fashion and social atmosphere. In this particular age environment, people want to dilute their life and reach a balance in the spiritual field to transcend reality. This can be seen from the poetic narration of Yungang Grottoes, Maijishan Grottoes and Tao Yuanming. At that time, the Buddhist figures in the grottoes and the statues of the supporting statues were mostly characterized by thin bones. Their bodies were mostly thin, slender, and with a clear sense of bone, desalinating the flesh, highlighting and emphasizing fine