从北魏永安二年张昙祐等造像上的线刻画看石刻线画的发展

Discussion of the Development of Stone Line-engraved Portraits through Line-engraved Motifs on a Buddhist Status Donated by Zhang Tanyou and others

本文通过造像式样与题记内容的分析判定了一件未曾介绍过的青州北魏造像。并且就该造像上精美的线刻供养人画像,结合汉代至北朝末年期间的其他石刻线画,探讨了中国古代石刻线画与绘画线描技术的发展变化过程。通过这件罕见的造像线刻画,可以证实六朝画风从密体向疏体演变这一重大变化,反映了南朝画风对北朝造像的深刻影响,表现出当时南北文化、经济的密切往来交流。

Through integrating the analyses of styles and inscriptions, this article argues that a stone statue from Qingzhou （state） which has not been published previously should be dated to the Northern Wei Dynasty. Besides, by combi- ning the delicate engraved donors＇ portraits on this status and other line-engraved motifs from the Han Dynasty to the end of Northern Dynasties, the development of Chinese ancient stone line-engraved portraits and line-drawing paintings is explored. Rarely seen portraits on this statue demonstrates a significant change from ＇miti ＇ to ＇shuti ＇ on the painting style during the Six Dynasties, and profound influences from the painting styles of the Southern Dynasties on the characteristics of statues. On the other hand, such phenomena indicate frequent interactions and communications in terms of culture and economy between the North and South.