麦积山石窟北周造像特点及演变脉络——以第62窟为例

On the Statues Characteristics and Evolution of Maijishan Grottoes in Northern Zhou Dynasty——Taking Cave 62 as an Example

北周是麦积山石窟营建史上一个重要时期,开凿的洞窟数量众多、规模宏大。以麦积山为代表的秦陇地区北周佛教造像在充分吸纳经成都传入的受印度笈多造像样式的同时,又在"恢复周礼"这一社会背景影响下,形成了"敦厚质朴、珠圆玉润"的艺术特点,与同时期其他地区佛教造像有显著差别。这种特质在保存完整的第62窟北周造像中表现得尤为突出,集中展现了当时南北方之间和东西部之间佛教文化交流与传播的历史脉络。

The statues of Maijishan Grottoes in Northern Zhou Dynasty are deeply influenced by those of India, andhave strikingly different characteristics from the statues in other areas at the same period, which is particularly dis-played at Cave 62, reflecting the history of Buddism communication between east and west.