青州佛像风格与印度笈多艺术.docVIP

青州佛像风格与印度笈多艺术 　　 　　 In 1996, a group of stone sculptures were excavated in Longxing Temple Site in Qingzhou, Shandong Province, with a sum total of more than 400. Most of them belong to the three periods of North Wei, East Wei and North Qi. The excavation of these sculptures greatly caused a great sensation in both domestic and international societies, and drew unprecedented attention in the academic world. Among the many viewpoints, those proposed by Mr. Yanghong from the Research Institute of Archeology of China Academy of Social Sciences and Mr. Xiaming from Qingzhou Museum of Shandong province are most representative. Mr. Yang divided the historical periods of these sculptures into four periods; late North Wei, East Wei, early North Qi and late North Qi; while Mr. Xias division are just three periods, that is, late North Wei, East Wei and North Qi. Their divisions are basically the same. The only difference is that Mr. Yanghong divided North Qi into early and late periods. Indian Kato art includes two forms, both of that have important influences on Qingzhou Buddha images. 　　 Judging from the historic periods and the excavated relics, the influence of this Indian art on Qingzhou Buddha images started as early as East Wei Dynasty. It is particularly worth mentioning that the influences of its two art forms are not the same prominent. Besides the influence on the construction of Buddha images in Qingzhou area, the influence of Indian Kato art also radiated to a wide region of the North Qi Dynasty. In the North Qi Dynasty, the styles of Buddha images experienced a sudden change with more plump figures and simpler clothes lines. The formation of this new style is actually a direct result of the influence of Kato art. 　　 Citing from a lot of historical documents, Mr. Subai provided three important clues for the influences on the style of Qingzhou Buddha images: 1. the influence of the emperors worship of Indian Buddha images in South Liang Dynasty; 2. the influen