摘要
本稿以实地调查与学界披露的相关资料为基础,比较详细地分析了四川宋代石刻菩萨像宝冠造型,存在卷草纹与牡丹纹两类宝冠,北宋晚期至南宋晚期获得长足发展。卷草纹宝冠上承唐、五代传统,在吸收宋代世俗卷草纹因素后继续发展。牡丹纹宝冠为菩萨像造型的创举,是宋人酷爱牡丹及牡丹栽培中心南移四川的产物。北宋晚期至南宋早期,这两类宝冠的造型灵活多变,尤其绍兴年间(1131-1162)彰显新时代创造力。南宋中晚期,这两类宝冠的造型繁缛细密达到极致。四川宋代石刻菩萨像宝冠造型演化,深刻地反映了佛教艺术民俗化、地域化的过程。
Based on field investigation and published materials, this paper presents a detailed analysis of the coronets of Song dynasty stone bodhisattvas in Sichuan province and comes to the following conclusions： coro- nets with patterns of coiled floral and peony were highly developed from late Northern Song to late Southern Song dynasty. Inheriting the traditions of the Tang and Five Dynasties and absorbing the elements of secular coiled floral designs in the Song dynasty, the coronets with coiled floral designs were further developed; coronets with peony designs were a creation for Bodhisattva images because the peonies were very popular among the Song dynasty people and the center of peony cultivation moved to Sichuan. From the late Northern Song to early Southern Song dynasty, the two kinds of coronets were flexible in design, especially in the Shaoxing era （1131-1162） during the Southern Song dynasty, which showed the creativity of that time. In late Southern Song dynasty, the patterns of these two types reached their perfection. The evolution of the coronets of Song dynasty stone bodhisattvas in Sichuan reflects the secularization and localization processes of Buddhist art.
出处
《敦煌研究》
CSSCI
北大核心
2014年第2期40-52,共13页
Dunhuang Research
关键词
四川宋代菩萨像
卷草纹宝冠
牡丹纹宝冠
Song dynasty bodhisattvas in Sichuan
Coronet with coiled floral designs
Coronet with peony design
作者简介
齐庆媛（1981-），女，山东省淄博市人，清华大学美术学院博士研究生，从事佛教物质文化研究。
