北魏佛教造像艺术的“秀骨清像”论

The Style of “Xiu Gu Qing Xiang” of the Buddhist Statues Art in Northern Wei Dynasty

"秀骨清像"一词最早源于世人对南朝宋室画家陆探微绘画风格的指称,后又被论者作为北魏中晚佛教造像艺术形式与风格的概述,具有北魏造像的突出代表特征。二者的衔接透露出中国传统绘画艺术与佛教造像之间互通有无的渊源,也使得北魏时期的佛教造像具有绘画艺术语言的风格。其"清秀俊美"的艺术样式中显露出魏晋文人士大夫的审美理想,包蕴着丰富的审美情趣与哲理内涵。那"静谧幽思"的神态中透出主体内在生命的节奏与韵律,这一风格因佛家的出世及静穆之美同玄理的高远与深幽相遇而成,其震撼灵魂的微笑中深谙着无尽的仁爱之美。

The Chinese phrase ＂Xiu Gu Qing Xiang＂ was originally referred to the painting style of Song Dynasty painter Lu Tan -wei, and later regard dhist statues in the middle and late Northern ed by critics as the generalization of the form and style of Bud- Wei Dynasty, for it represents the prominent features of North- ern Wei Dynasty Buddhist statues. The link between the two art forms reveals the origin of communication between traditional Chinese painting art and Buddhist statues, and has resulted in the Northern Wei Dynasty Buddhist statues demonstrating the style of painting art. The ＂delicate and pretty＂ art style of Buddhist stat- ues reveals the aesthetic ideal of ancient scholar - bureaucrats in the Wei and Jin Dynasties, which contains rich aesthetic appeal and philosophical connotation. The ＂quiet -and - meditate＂ manner of Buddhist stat-ues reveals the rhythm of the prototypes＇internal life. The style of ＂Xiu Gu Qing Xiang ＂ is a product of the combination of the solemn and tranquil beauty of Buddhism with the loftiness and profoundness of metaphysical theories, and thus the soul - touching smiles of Buddhist statues implies endless beauty of benevolence.