山东北部北魏晚期至东魏的石刻佛像造型分析

A Stylistic Analysis of the Stone Buddhas from Late Northern Wei to Eastern Wei in Northern Shandong Province

本文以山东北部北魏晚期至东魏的佛教石刻造像为中心,在实地调查的基础上,采用考古类型学与美术史样式论相结合的方法,对主尊佛立像造型进行了分析,并得出了以下结论:洛阳地区的石刻技法与定州地区的金铜佛工艺应是山东北部北魏晚期石刻佛像的技术来源;北魏晚期至东魏初期佛像流行波状发髻和磨光发髻,但螺形发髻是东魏佛教造像的主流形式;山东北部北魏晚期至东魏的佛像以服饰为表现中心,四肢与躯体的空间关系比较模糊,因此这些造像体现了鲜明的地域和时代风格。

This paper focuses on Buddhist stone carvings dated from late Northern Wei to Eastern Wei dy- nasty period, basing conclusions on field investigation conducted in northern Shandong Province. By combining archaeological typology with the style theory of art history the following conclusions about the style of the cen- tral Buddhas have been made： from late Northern Wei to Eastern Wei dynasty, the techniques of Buddhist stone carvings in northern Shandong were borrowed from those of the stone carvings in Luoyang and of the bronze Buddhas in Dingzhou; the wavy chignons and polished chignons were popular from late Northern Wei to early Eastern Wei period, while spiral chignons dominated the style of the Eastern Wei period; and that more atten- tion had been paid to the costumes than to the body proportion of these stone Buddhas, which exhibit distinct styles of specific time and space.