云冈石窟造像艺术

Image art in the Yungang Grottoes

公元5世纪50年代,昙曜五窟的开凿,揭开了今日'云冈石窟'历史的大幕。作为云冈石窟早期造像的代表,昙曜五窟是当时博采国内外众家之长对艺术造型再创造而形成的北魏自身时代特色的集中体现。但其艺术造型粗犷而雄浑的气势随着时间的推移而逐渐消逝,代之而起的是新的精工细琢的富丽之风,造像表现出面相清秀、衣着轻薄飘展的艺术风格,因为历史已走到北魏孝文帝太和初年,云冈石窟也在太和年间迎来了新的艺术高潮。随着北魏迁洛,平城丧失都城之位,云冈石窟也日趋衰落,造像面容更趋清秀。

During the 50s of the 5th Century,the excavation of the Five Grottos in Tanyao unvailed the historical curtain of the Yungang Grottoes.As the representative of image art during the early times of the Yungang Grottoes,the Five Grottos in Tanyao,with their strict unity of layout and design,constitute a classical masterpiece adopting advantages from all schools to evolve the unique style of the North Wei Dynasty. A exquisite and gorgeous style of carving took the place of the solumn and grand style as it vanished gradually as time went on.With elegant semblance,the images present an artistic style with a vivid bearing.The Yungang Grottoes reached a new artistic climax during the first years of Taihe under the reign of Emperor Xiaowen in the North Wei Dynasty.