摘要
云冈石窟第6窟弟子像在中心塔柱和周壁都有分布。弟子像的服饰和面部均已经出现了本土化的特征。这种变化是社会变革和文化交流在佛教造像上的反映,也符合第6窟整体造像本土化的趋势。
The disciples of Cave 6 of Yungang Grottoes were distributed on the central tower pillar and surrounding walls.The clothing and facial features of the disciples had already shown localized features.This change was a reflection of social change and cultural exchange in Buddhist statues,and also in line with the trend of overall statue localizing of Cave 6.
作者
张月琴
ZHANG Yue-qin(Academy of Yungang Cultural Ecology,Shanxi Datong University,Datong Shanxi,037009)
出处
《云冈研究》
2024年第2期12-16,共5页
Yungang Research
基金
山西省哲学社会科学规划课题“云冈石窟弟子像研究”(项目编号:2022YJ119)
关键词
云冈石窟
第6窟
弟子像
Yungang Grottoes
Cave 6
disciple image
作者简介
张月琴(1974-),女,山西昔阳人,博士,副教授,研究方向:社会史,石窟史。
