从北吴庄佛像埋藏坑论邺城造像的发展阶段与“邺城模式”

邺城地处晋冀鲁豫四省交界处，扼华北平原南北交通之要道。东汉以降，历为三国故地，六朝古都。北朝晚期又为中原北方地区的佛教文化中心。自20世纪50年代以来，邺城遗址及京畿范围内曾陆续出土了一些佛教石造像，其中1997年在成安南街寺院遗址的发现较为重要，这里出土的造像以东魏北齐背屏式白石像为主，

Since the 1950s, rather large amounts of Buddhist sculptures have been unearthed within the scope of the Ye City Site, of which the hoard at Bei Wuzhuang found in January 2012 was the most noticeable. The Buddhist sculptures during the Northern Dynasties in the Ye City area could be divided into four phases, which are the mid through late Northern Wei Dynasty, the end of the Northern Wei through the early Eastern Wei Dynasties, the late Eastern Wei through the early Northern Qi Dynasties and the mid through late Northern Qi Dynasty. Moreover, referring to the given historic background, the derivation of the Buddhist thoughts and the cultural communication between China and the West at that time, this paper points out that the so-called dragon-tree-shaped back screen statues popular in the mid through late Northern Qi Dynasty was a brand-new sculpture type integrated the technical tradition and composition characteristics of the white marble sculpture in the Wuding Era of the Eastern Wei Dynasty and the Gupta sculpture style newly introduced in; the creation and diffusion of this sculpture type were tightly related to the Xianbeization and Western Barbarianization policies applied by the imperial court after the founding of the Northern Qi Dynasty and the reform of monastic restrictions managed by Fashang, the Buddhist comptroller-in-chief of the empire from Zhaoxuan Monastery.