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龙门石窟以宾阳中洞帝后礼佛图为模式的供养人造像,开启了中国石窟寺大型人物装饰艺术的先河。如果由此而拓展我们的文化视阈,我们可以发现,这种以单元题材重复排列、人物层次岑岑叠加为特征美术构图,以其强烈的具有共同意象主题的叙事性画面,着力地渲染了中国政教高端拥有“权力意识”的文化优越感。而这一美术造型模式在6世纪初叶中原地区的出现,实际上与此前中外文化交流对东西方美术创作的沟通有着内在的联系——宾阳中洞帝后礼佛图作为美术创新的一种尝试,其构图传写的基本手法实乃采源于西域早期艺术遗迹板块造型中“群阵烘托”的创作范式。在此之后的东方美术史上,这种赋有“宏大叙事”意义而为上层社会喜闻乐见的美术场景,曾对长达数百年之久的东方宗教艺术,尤其是其中的大型人物造型的创作实践,做出了带有主流意义的引领与示范。
Longmen Grottoes Binyang Cave in the Empress Empire Buddha figure as a mode of supply of statues, opened the Chinese cave temple decoration of the first large-scale art. If we thus expand our cultural perspective, we can find that this composition of the unit theme repeatedly, the character level Cen Cen superimposed as the characteristics of art composition, with its strong theme of the common theme of the narrative picture, China’s high-end church and state have “sense of power ” of cultural superiority. In fact, the appearance of this art mode in the Central Plains region in the early 6th century has actually been intrinsically linked with the communication between Chinese and foreign cultures on the creation of Eastern and Western art. , The composition and writing of the basic techniques are actually derived from the early Western art plates in the shape of “group set off ” creative paradigm. In the post-oriental art history, this art scene endowed with the meaning of “grand narrative” and enjoyed by the upper class society has been an inspiration for the oriental religious art which has lasted for hundreds of years, especially the creation of large-scale figures among them Practice, made with the mainstream significance of the pilot and demonstration.