| As a fixed schema of triads with mandorla, “Dragon With Lotus”(Long Xian Lian) image has always been considered the typical image of The Northern Dynasties' Style of Statuary in Qingzhou. The image has experienced complex and complete shape, mature, interpretation of the development process, beginning with entering to the statues of Qingzhou system. It has become popular just because coating Buddha statues during the Northern Qi Dynasty. However,it gradually withdrew from image system with the reduction of carving.This article regards “Dragon With Lotus”(Long Xian Lian) image as the object, through the discussion of the motif, image style, communication route,popular and so on, outlines its various patterns in history, archaeology, religion, art, anthropology and communication. It finds the appropriate coordinate in the history of Qingzhou statues development. Specifically, this article can be discussed into four aspects.Firstly, we can confirm the statues of Buddhism had a boom after the Northern Wei occupied Qingzhou, according to the description and analysis of history and development. By combining a large number of archaeological excavation report, we got further information about its location, type, quantity. Eventually we drew a conclusion that the statues of Qingzhou are based on stone statue of Buddha. At the same time, we confirm that triads with mandorla is one of representative shape of Qingzhou Buddhist statues through comparing with the characteristics of various types statues. On this basis, we come to the conclusion that “Dragon With Lotus ”(Long Xian Lian) is the typical image of triads with mandorla based on the observation and analysis of many statues.Secondly, we take "read" the image as the main way, comparing the composition factors of “dragon” and “lotus” in shape?style?model and decorative techniques, dividing it in the sense of Typology. Through integrating two images of various types in stage characteristics and integral style “Dragon With Lotus”(Long Xian Lian) image is divided into three different stages of development. Then the image got into a highly mature stylized phase. We analyst the Composition value and significance of triads with mandorla from three dimensions of horizontal, vertical and deep space.Thirdly, we aim to explore the motif of “Dragon With Lotus ”(Long Xian Lian) image. We draw a conclusion that the image may have multiple attributes of culture by discussing the connotation of "dragon" and "Lotus" in Buddhism and Chinese native culture. On this basis, we think about what cultural connotation within this image in the system of Qingzhou statues by combining with the fact that it was the fixed figure in statues. Meanwhile, we take the motif of the image as the object for comparison, compared with the material remains which with a similar image motif in various regions and get a conclusion that “Dragon With Lotus ”(Long Xian Lian) image motif is a combination of Heterogeneous culture of Buddhism and Chinese traditional belief under the complex and diverse cultural situation in the Southern and Northern Dynasties.Finally, we can combine the formal style with Image motif, based on the analysis of summarizing the style characteristics in Region similarity, so as to make a judgment about Image transmission route. From the perspective of belief, custom, and image, combined with the fact that Qingzhou Buddhism became prosperous during the late Northern Dynasties. We can draw a conclusion: "Long XianLian" image was widely prevalent in Qingzhou because of its Ambiguity characteristics in connotation; as a heterogeneous culture of Buddhism, if we want to enter Qingzhou which has a stable immortal belief, the only choice is to find and create a cultural label as close to Qingzhou as possible. |
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