北庭回鹘佛教晚期的空间秩序与艺术风格——以S102殿塑像群为中心

Spatial Order and Artistic Style in the Late Period of Uighur Buddhism in the Beiting——Centered on the S102 Statue Group

北庭高昌回鹘佛寺遗址的S102配殿是一座经过后期大规模改建后形成的礼拜功能配殿,殿内共保留塑像22身,大都残毁严重,但通过对塑像布局的空间形制分析可以发现,其塑像间的局部空间是受中原文化和造像组合形式传播的影响,整体空间更是模仿中原汉式寺院形成的。塑像的艺术风格继承了高昌回鹘佛教艺术典型的五官特征,也保留了其体态圆润敦厚的比例,赋色仍以红为主,但在服饰衣纹的塑造上更简练厚重,体现出不同于之前繁复华丽的风格,转而更趋向同时期中原地区的佛教艺术审美追求。不论是空间还是艺术,二者都体现出北庭佛教发展的晚期,高昌王室对中原文化认同的进一步加强。

The S102 is a hall of worship formed after large-scale reconstruction in later years at The Site of the Buddhist Temple in Qocho Uighur Period at Beiting.A total of 22 statues are retained in the hall,most of which are seriously damaged.However,through the analysis of the spatial shape of the statue layout,it can be found that the local space between the statues is affected by the spread of the combination form of Central Plains culture and stat⁃ues,and the overall space is formed by imitating the Han temple in Central Plains.The artistic style of the statue in⁃herited the typical facial features of the Uighur Buddhist art in Gaochang,retained the proportion of the body round and thick,and the color was still dominated by red.However,the shape of the clothing pattern was more concise and heavy,which reflected the different from the complex and gorgeous style before,and tended to the aesthetic pursuit of Buddhist art in the Central Plain at the same time.Both space and art reflect the late development of Buddhism in Beiting and the further strengthening of the Gaochang royal family’s recognition of the Central Plains culture.