对佛光寺东大殿唐代彩塑布局规律的分析

An Analysis of the Layout Rules of Tang Dynasty Painted Sculptures in the East Hall of Foguang Temple

佛光寺东大殿是中国现存最大的唐代木构建筑,殿中佛坛上的34尊唐代彩塑体型高大,数量众多,分布密集。在历史上东大殿曾经过多次修缮和改建,大殿门板从内柱推移到了外柱,这就改变了大殿内的空间,也改变了彩塑原有的视觉效果。还原东大殿彩塑原本的布局方式和视觉效果即可发现,这种布局思路中继承了许多石窟寺的空间布局经验,对石窟寺的演变规律进行研究,可以更加清晰的认识东大殿空间布局所遵循的规律,深刻理解古人对于雕塑和展示空间这二者关系的认知。

The East Hall of Foguang Temple is the largest existing Tang Dynasty wooden building in China.The 34 Tang Dynasty painted sculptures on the Buddhist altar in the hall are tall,numerous and densely distributed.In history,the East Hall has been repaired and rebuilt many times.The door panel of the hall has been moved from the inner column to the outer column,which has changed the space in the hall and the original visual effect of the painted sculptures.It can be found by restoring the original layout and visual effects of the painted sculptures in the East Hall.This layout idea inherits many experience in the spatial layout of cave temples.By studying the evolution law of cave temples,we can more clearly understand the spatial layout of the East Hall.The rules of the art,and a deep understanding of the ancients’cognition of the relationship between sculpture and exhibition space.