中国早期佛教美术考古泛议

Discussions on Early Archaeology and Buddhist Art in China

近年来关于早期佛教美术考古的一大发现是在丰都槽房沟汉墓出土青铜钱树佛像及伴出的延光四年(125)陶器座,揭示了中国佛教美术滥觞的年代。西晋以后,中国佛教告别初传期,走向成熟,在战乱纷扰的北方,佛教中心先后形成于河北、长安和凉州。十六国佛教美术始于后赵金铜佛系统,继而经过关中秦陇与河西凉州两个系统的发展,奠定了北魏佛教美术走向兴盛的基础。平城佛教的形成与发展,聚集了山东六州、关中长安、河西凉州、东北和龙、东方青齐五个方面的实力。以五所大窟承前启后,在北魏统一北方和推行改制的过程中,云冈模式逐渐形成。

A recent discovery in the early archaeology of Buddhist art in China has unearthed a bronze money tree with Buddha statues and a pottery base dated from the fourth year of the Yuanguang era （125 CE）, which shed light on the beginning of Chinese Buddhist art. After the Western Jin dynasty, Chinese Buddhism began to mature, successively forming three Buddhist centers in Heibei, Chang＇an and Liangzhou, northern provinces in China ravaged by war. After the Sixteen Kingdoms the form of gilt bronze Buddha statues from the Later Zhao period, Chinese Buddhist art began to appear in dynasty and developed into two Buddhist art systems, one in central Shaanxi and eastern Gansu, the other in Liangzhou in the Hexi regions. This early work would become the basis for the prosperity of Northern Wei Buddhist art. The emergence and development of Buddhism in Pingcheng was influenced by the Buddhist art from five Buddhist centers： Liuzhou in Shandong Province, Chang＇an in Shaanxi Province, Liangzhou in the Hexi Regions, Helong region in northeast China, and Qingqi region in east China. With the unification of north China and the reformation of the Northern Wei dynasty, the five caves, which inherited past Buddhist art, gradually gave birth to the ＂Yungang Pattern.＂