本文選題：北齊　切入點(diǎn)：“龍樹背龕式”造像　引自：《中原文物》2017年04期

【摘要】：公元6世紀(jì)中期,中原北方東部地區(qū)開始出現(xiàn)一種以雙菩提樹為背屏、北齊新樣式佛像為主尊、常以鏤孔透雕形式表現(xiàn)的白石佛教造像,其造型精美,特征鮮明,與早年流行的尖楣?fàn)畋称猎煜裥问藉漠悺１疚囊脏挸堑貐^(qū)歷年出土佛像為中心,結(jié)合周邊區(qū)域同類背屏式造像,探討北齊"龍樹背龕式"造像的構(gòu)圖特征及技術(shù)傳承。
[Abstract]:In the middle of the 6th century AD, there began to appear a white stone Buddhist statue in the eastern part of the Central Plains with double Bodhi trees as its back screen. The new style of Buddha statues in the Northern Qi Dynasty were mainly respected, often in the form of carved holes through the carved holes. The figures were exquisite in shape and distinctive in characteristics.And the early popular spiky back screen image form is very different.Based on the Buddha statues unearthed in the past years in Yecheng area and the similar backscreen statues in the surrounding areas, this paper discusses the composition characteristics and technical heritage of the "Dragon Tree back niche" statues in the Northern Qi Dynasty.
【作者單位】： 中國社會(huì)科學(xué)院考古研究所;
【分類號(hào)】：K879.3

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1 羽離子;唐印刷術(shù)專著《龍樹出印法》東傳日本考[J];人文雜志;1992年05期

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本文編號(hào)：1730783