十六国、北朝时期石刻佛教艺术的本土化途径——以圣树与人像组合模式为例

The Localization Way of Buddhist Carving in Sixteen Kingdoms and Northern Dynasties: A Study of Composition Pattern of Holy Tree and Figure

文章以十六国、北朝时期石刻佛教艺术中圣树与人像的组合模式为切入点,考察此时期佛教艺术本土化的途径。研究发现,十六国、北朝时期石刻佛教艺术的本土化大致经历了以北魏分裂作为分界点的两个不同阶段。在北魏分裂以前,佛教艺术锐意变革、多方探索,通过调整、重塑、开创等多种途径,使北朝前期石刻佛教艺术中圣树与人像的组合模式逐渐脱离古印度佛教艺术的固有表现模式;北魏分裂以后,"双树"组合方式盛行于多种佛教艺术题材之中,对前期的变革成果进行了再改造,成为这一阶段佛教艺术构图的标志性特征。

Taking the composition pattern of holy tree and figure in Buddhist carving in Sixteen Kingdoms and Northern Dynasties, we study the localization means of Buddhist art in this period, which could be categorized into two phases. Before the split of the Northern Wei Dynasty, Buddhist art reformed and explored and rebuilt to inaugurate multiple means so as to get the composition pattern of holy tree and figure away from the inherent models. After the split of Northern Wei Dynasty, the composition pattern of two holy trees prevailed in various Buddhist art themes, which be-came a symbolic composition of the Buddhist art in this period.