本文選題：克孜爾石窟 + 佛教藝術(shù)　； 參考：《美術(shù)》2016年02期

【摘要】：正公元6至7世紀(jì)200年間,龜茲佛教進(jìn)入了持久繁榮的階段,龜茲佛教藝術(shù)亦進(jìn)入了發(fā)展的高潮期,石窟寺已遍布龜茲各地,目前可尋的石席遺址,如庫木吐喇、森木塞姆、克孜爾尕哈、瑪扎伯赫、托乎拉克艾肯、溫巴什、臺臺爾、蘇巴什等石窟都已相繼開鑿�？俗螤柺咭策M(jìn)入了一個(gè)開窟的高峰�？俗螤柺哂�60%左右是這個(gè)時(shí)期開鑿的。如此大規(guī)模開窟,一方面反映出佛法的繁盛,一方面展現(xiàn)出了龜茲國力之強(qiáng)大、經(jīng)濟(jì)之繁榮及社會(huì)之相對
[Abstract]:During the 200th century AD, Qiuzi Buddhism entered a stage of lasting prosperity, and the Buddhist art of Qiuzi also entered a period of development. The grottoes have spread all over Qiuzi, and the sites of stone seats that can be found at present, such as Kumutura and Senmuthum, Kizil Gaha, Mazabach, Tolakaiken, Wembashi, Terre, Subashi and other grottoes have been dug. Kizil Grottoes also entered a cave opening peak. About 60% of Kizil grottoes were dug during this period. Such a large-scale cave opening reflects the prosperity of Buddhism on the one hand, and the strength of Qiuci on the other hand, the prosperity of the economy and the relative social situation of Qiuci.
【作者單位】： 新疆龜茲石窟研究所;
【分類號】：J19
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本文編號：1856643