Based on the archaeological investigation and the synthetic study of Buddhist sculptures of the Tang Dynasty,the author argues that the relief from the Seven-Jewel-Tower can be divided into two groups:one was dated to...Based on the archaeological investigation and the synthetic study of Buddhist sculptures of the Tang Dynasty,the author argues that the relief from the Seven-Jewel-Tower can be divided into two groups:one was dated to AD 703～704,when the building was set up by the Empress Wu Zetian;while the other group was dated as around AD 724,when the building was restored.Referring to the same kind of contemporary monuments,the first group is presumed to be reconstructed as a four–sided tower,comprising the basement,the body and the cover.The basement is eight-sided,with the one Seated Shakyamuni and Two Attendants relief,and the other seven sides with Ekadasamukha relief attached respectively.The body is four-sided-tower with four Buddha images attached in each side,demonstrating the prevalence of the four-world-four-Buddha belief during the Early Tang and the Wuzhou period.The architecture,sculpture and wall painting were closely integrated and strongly influenced by the Gupta style.As the representative monument of the Wuzhou Buddhism Visual Culture,Seven-Jewel-Tower is also the identity of the Wuzhou Dynasty.展开更多
本文采用"建筑和图像程序(architectural and pictorial program)"方法重新考察临潼庆山寺舍利地宫,认为地宫以石门为界分为纪念空间和瘞埋空间,瘞埋空间以舍利石帐为中心,主室壁画表现释迦牟尼涅槃的哀悼场面。舍利地宫的整...本文采用"建筑和图像程序(architectural and pictorial program)"方法重新考察临潼庆山寺舍利地宫,认为地宫以石门为界分为纪念空间和瘞埋空间,瘞埋空间以舍利石帐为中心,主室壁画表现释迦牟尼涅槃的哀悼场面。舍利地宫的整体设计是依据大唐南海波凌国沙门若那跋陀罗译《大般涅槃经后分》,反映释迦牟尼涅槃后天界和人间举哀的情景。地宫的建筑空间借鉴唐代墓葬的结构,遵循中国传统的方位思想,将已经形成定制的佛教图像安置在相应的建筑空间和建筑面上,表现完整的佛教涅槃经思想。地宫具有完整的设计思想,形成一种独特的建筑和艺术门类(genre),创造出舍利瘞埋的中国视觉文化。展开更多
The present paper deals with the funerary culture of 42 tombs of the Eastern Wei and Northern Qi Dynasties(534—576)spreading in Hebei,Shanxi,Henan,Shandong provinces.Based on typology study of the chamber constructio...The present paper deals with the funerary culture of 42 tombs of the Eastern Wei and Northern Qi Dynasties(534—576)spreading in Hebei,Shanxi,Henan,Shandong provinces.Based on typology study of the chamber construction,wall painting,spirit articles ,and statistics of all the materials,3 elements of main stream funerary culture are analyzed.They originated and developed in and around the capital--Yecheng,and spreaded all over the country owning to the governments political and military efforts.It was in this period that the chamber construction,wall parnting,and spirit article were integrated in an order to express the occupants existence in this world and the other.展开更多
In China,during the Han dynasty,large-scale,three-dimensional stone sculpture appeared.Stone animals and stone human figures were erected in front of tombs and on their approach routes.Chinese art,which had long loath...In China,during the Han dynasty,large-scale,three-dimensional stone sculpture appeared.Stone animals and stone human figures were erected in front of tombs and on their approach routes.Chinese art,which had long loathed realistic representation of human body,began to turn towards the human body.However,these stone human figures were cloaked in thick garments,and their expression was nothing more than generalized surface treatments.In the first half of the 5th century,Chinese stone sculpture met an unprecedented foreign influence in its encounter with Buddhist art,and there was a rapid development of human figural sculpture viaBuddhist sculptures.In the Tang dynasty,a Chinese style of Buddhist sculpture,fitted with both bodily expression and decorative qualities,matured.On the other hand,the erection of stone sculptures and steles spread in the general classes and in regional areas,given the undercurrent of China’s native preference for,and reverence of,jade.Chinese stone sculpture developed amidst a repetition of being greatly swayed by the "foreign" and held back by the ’traditional.’ In the history of Chinese stone sculpture,it was always foreign cultures that brought the opportunity for the birth of new changes.展开更多
文摘Based on the archaeological investigation and the synthetic study of Buddhist sculptures of the Tang Dynasty,the author argues that the relief from the Seven-Jewel-Tower can be divided into two groups:one was dated to AD 703～704,when the building was set up by the Empress Wu Zetian;while the other group was dated as around AD 724,when the building was restored.Referring to the same kind of contemporary monuments,the first group is presumed to be reconstructed as a four–sided tower,comprising the basement,the body and the cover.The basement is eight-sided,with the one Seated Shakyamuni and Two Attendants relief,and the other seven sides with Ekadasamukha relief attached respectively.The body is four-sided-tower with four Buddha images attached in each side,demonstrating the prevalence of the four-world-four-Buddha belief during the Early Tang and the Wuzhou period.The architecture,sculpture and wall painting were closely integrated and strongly influenced by the Gupta style.As the representative monument of the Wuzhou Buddhism Visual Culture,Seven-Jewel-Tower is also the identity of the Wuzhou Dynasty.
文摘本文采用"建筑和图像程序(architectural and pictorial program)"方法重新考察临潼庆山寺舍利地宫,认为地宫以石门为界分为纪念空间和瘞埋空间,瘞埋空间以舍利石帐为中心,主室壁画表现释迦牟尼涅槃的哀悼场面。舍利地宫的整体设计是依据大唐南海波凌国沙门若那跋陀罗译《大般涅槃经后分》,反映释迦牟尼涅槃后天界和人间举哀的情景。地宫的建筑空间借鉴唐代墓葬的结构,遵循中国传统的方位思想,将已经形成定制的佛教图像安置在相应的建筑空间和建筑面上,表现完整的佛教涅槃经思想。地宫具有完整的设计思想,形成一种独特的建筑和艺术门类(genre),创造出舍利瘞埋的中国视觉文化。
文摘The present paper deals with the funerary culture of 42 tombs of the Eastern Wei and Northern Qi Dynasties(534—576)spreading in Hebei,Shanxi,Henan,Shandong provinces.Based on typology study of the chamber construction,wall painting,spirit articles ,and statistics of all the materials,3 elements of main stream funerary culture are analyzed.They originated and developed in and around the capital--Yecheng,and spreaded all over the country owning to the governments political and military efforts.It was in this period that the chamber construction,wall parnting,and spirit article were integrated in an order to express the occupants existence in this world and the other.
文摘In China,during the Han dynasty,large-scale,three-dimensional stone sculpture appeared.Stone animals and stone human figures were erected in front of tombs and on their approach routes.Chinese art,which had long loathed realistic representation of human body,began to turn towards the human body.However,these stone human figures were cloaked in thick garments,and their expression was nothing more than generalized surface treatments.In the first half of the 5th century,Chinese stone sculpture met an unprecedented foreign influence in its encounter with Buddhist art,and there was a rapid development of human figural sculpture viaBuddhist sculptures.In the Tang dynasty,a Chinese style of Buddhist sculpture,fitted with both bodily expression and decorative qualities,matured.On the other hand,the erection of stone sculptures and steles spread in the general classes and in regional areas,given the undercurrent of China’s native preference for,and reverence of,jade.Chinese stone sculpture developed amidst a repetition of being greatly swayed by the "foreign" and held back by the ’traditional.’ In the history of Chinese stone sculpture,it was always foreign cultures that brought the opportunity for the birth of new changes.
