| 宋代佛教石窟造像风格散论 |
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| 引用本文： | 赵复泉,李毅萍.宋代佛教石窟造像风格散论[J].重庆教育学院学报,2006,19(1):87-90. |
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| 作者姓名： | 赵复泉 李毅萍 |
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| 作者单位： | 1. 重庆市博物馆,重庆,400013
2. 重庆市少年宫,重庆,400014 |
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| 摘 要： | 中国石窟艺术自北魏迄盛唐,多有模仿之迹,至宋代而成为真正的佛教艺术。宋代石窟艺术的独特风格,主要表现为民族性、世俗性、含蓄端庄、重细节刻画。宋代石窟艺术在我国漫长的石窟艺术史上抹上了最后一笔耀眼的色彩。
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| 关 键 词： | 宋代石窟艺术 民族性 世俗性 含蓄性 重细节 |
| 文章编号： | 1008-6390(2006)01-0087-04 |
| 收稿时间： | 07 15 2005 12:00AM |
| 修稿时间： | 2005年7月15日 |
On styles of Buddhism Grottoes of the Song Dynasty |
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| ZHAO Fu-quan,LI Yi-ping.On styles of Buddhism Grottoes of the Song Dynasty[J].Journal of Chongqing College of Education,2006,19(1):87-90. |
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| Authors: | ZHAO Fu-quan LI Yi-ping |
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| Abstract: | The art of grottoes in China dated back to the Northern Wei Dynasty, flourished at the beginning of the Tang Dynasty and had the characteristics of imitation, but it became mature Buddhist Art in the Song Dynasty. The unique style of the grotto art in the Song Dynasty mainly characterized the ethnical, secular, implicit meaning and focused on detail drawing, which marks the last flourishing period in long-term history of Chinese grotto art. |
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| Keywords: | grotto art in the Song Dynasty ethnical meaning secular meaning implicit meaning detail drawing |
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