地域传统与文化融合:北朝伎乐天边饰背屏式佛教造像之考察——以河北定州和邺城地区为中心

A study of Buddhist Statues with Apsara on Mandorla in Northern Dynasties——the Central Focus of Dingzhou and Yecity

伎乐天边饰背屏式造像是北朝背屏式佛教造像的代表。本文通过梳理河北定州与邺城地区北朝伎乐天边饰背屏式佛教造像的时代风格,考证了数件时代不明的佛教造像,力图揭示北魏后期至北齐定州与邺城地区背屏式造像的复杂关系。河北北朝伎乐天边饰背屏式造像风格的演变,既与南朝文化的影响、定州与邺城传统地域特色有关,又与当时汉化与胡化的思潮此消彼长关联密切。另外,通过对比伎乐天在佛教文本中的表现,可知背屏边饰伎乐天像是为法音供养,表现闻法成佛的信仰主旨,这也为其艺术特色的形成提供了创造表现空间。

By combing the Buddhist statues with Apsara on Mandorla in the Northern Dynasties inHebei Province,it is found that the exquisite bronze statues in Dingzhou in the late Northern Wei dynasty laid the modeling foundation for the stone sculptures.With the weakening of the influence of Han culture and the strengthening of Hu culture,the statues in Dingzhou and Ye City Sitein the Eastern Wei and Northern Qi dynasties,not only changed the style of the times,but also seldom decorated withApsara on Mandorlawhich expressed the belief of Buddhism,with the change of the Han and Huhua.It shows the direct influence of politics on Buddhist statues.