摘要
云冈石窟二期以鲜卑装束为主的供养人像是北朝佛教艺术中的特殊现象。本文从平城时期的墓葬来分析这批供养人像的背景,并由此讨论鲜卑文化在平城的流行情况和接受问题。云冈石窟二期的鲜卑供养人像属于太武帝以来平城地区制作鲜卑人像的传统。这类人像不仅见于石窟,亦在墓葬壁画、陶俑间流行,其制作受到了北魏皇室的佛教造像工程的影响。这类人像在平城地区的流行既反映了当地鲜卑文化的浓厚,亦显示了北朝不同族属民众对鲜卑文化的接受和认同。
Xianbei Buddhist Pilgrims'figures in Yungang Grottoes during 465-494 A.D.are exceptional in the Buddhist art of the Northern Dynasties.In this article,the background of these Buddhist Pilgrims'figures is analyzed from the view of tombs at that time,and the prevalence and acceptance of Xianbei culture in Pingcheng are discussed.These Xianbei Buddhist Pilgrims'figures come from the tradition of producing Xianbei images in the Pingcheng area since the time of Taiwu Emperor.This type of images,which is influenced by the project of Yungang Grottoes donated by the royal house of Northern Wei,is not only found in Buddhist Pilgrims'figures,but also in tomb murals and figurines.The popularity of Xianbei images in Pingcheng not only reflects the richness of the local Xianbei culture,but also shows the acceptance and recognition of the Xianbei culture by different ethnic groups in the Northern Dynasty.
作者
胡听汀
HU Ting-ting(Art School,Sichuan University,Chengdu Sichuan,610207)
出处
《山西大同大学学报（社会科学版）》
2019年第5期42-46,共5页
Journal of Shanxi Datong University(Social Science Edition)
关键词
供养人
鲜卑族
北朝墓葬
云冈石窟
Buddhist Pilgrims
Xianbei
tomb of the Northern Dynasty
Yungang Grottoes
