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在印度历史学家们的笔下,笈多帝国时期被形容成是一个在中央政府统一治理下,婆罗门阶级重兴、梵语文学精品创作繁盛、建筑雕塑艺术显著发展的辉煌时代。这一时期的雕塑艺术不仅仅是佛教的艺术,而是印度教、耆那教、佛教共同激荡下发展出来的艺术风格;也不再是标签化的马图拉和萨尔纳特样式,而是一种多中心区域化和多元化的艺术。区域化艺术中心的形成与发展是笈多艺术走向成熟的标志。通过海、陆丝绸之路,中国的求法高僧巡礼圣迹,携带经像,而这些样本曾经是中国佛教造像的工匠们最为有力和最为直接的艺术创作源泉。
In the writings of Indian historians, the QiongDuo empire was described as a brilliant era under the unified administration of the Central Government, the revival of the Brahmin class, the flourishing creation of Sanskrit literary works and the remarkable development of architectural sculpture art. The sculpture art of this period is not only the art of Buddhism, but the artistic style developed under the common inspiration of Hinduism, Jainism and Buddhism. It is no longer the tagged Mathura and Sarnath style, but rather A multi-center regionalization and diversification of art. The formation and development of a regional art center is a symbol of the multi-faceted art. Through the sea, the Silk Road, China’s religious monks tour of the holy sites, carrying the image, and these samples used to be the most powerful Buddhist artificers and the most direct source of artistic creation.