Inside And Outside The Scale:A Study On The Style Transition Of Buddhist Stone Sculptures In Northern Qi Dynasty In Qingzhou

This paper takes the transition research of the types and style characteristics of stone carvings(Buddhist statues)in Northern Qi Dynasty of Qingzhou as the main line.By scale analysis and type analysis,the paper reveals the reasons and characteristics of the style transition of stone carvings in Northern Qi Dynasty of Qingzhou.This paper first reveals that the pure Gandhara influence and Gupta influence did not occur in the Northern Wei Dynasty but in the Northern Qi Dynasty;Secondly,through the analysis of the characteristics of Gandhara plaster and its relationship with the characteristics of the Northern Qi Dynasty,the paper shows that it has a profound influence on the image creation in Northern Qi Dynasty of Qingzhou;In the type analysis,this paper discusses the influence of Gupta sarnate,Gandhara and Gupta Mathura styles on the Northern Qi Dynasty of Qingzhou by means of measurement,measurement coincidence degree and structural characteristics analysis,and then extends the existence of Western elements in the Northern Qi Dynasty of Qingzhou based on the traditional image creation used between murals and statues;Finally,through the multi-angle measurement and analysis,the scale exploration of the Northern Qi statue of Qingzhou did not form a complete and systematic measurement system,but was run by several independent measurement norms in different workshops,reflecting the existence of a kind of industry rules of teacher and apprenticeship and secret and unappealing.This is the main reason why the statue did not form a unified measurement system,Therefore,unlike the strict standards of Indian Buddhist statues,the images of Qingzhou and Northern Qi are used in the images with various scales and realistic characters,thus forming a vivid representation of Buddha nature and human nature in Northern Qi of Qingzhou.This paper mainly studies the unearthed statues from Longxing Temple hoard in Qingzhou,combining with the typical caves of Central Plains in Northern Wei Dynasty,some Buddhist relics in Xinjiang,and the regulations of image measurement and the "phase and good" of the scriptures translated before the Northern Qi Dynasty.Based on the research of scholars in archaeology,history and plastic arts,this paper studies the stone carving from the perspective of scale and style transition,which is a new attempt.With the help of scale,we can have a deeper understanding of the formation of the unique style of stone carvings in Northern Qi Dynasty of Qingzhou.This paper uses chart analysis,numerical comparison analysis,technique and form analysis to study.The first chapter,as a historical background,explains that the ancient Silk state and the prosperous trade have created the cultural background of Qingzhou opening and inclusion.The second chapter discusses the causes and the transition between the Northern Wei Dynasty and the Northern Qi Dynasty: in the research upsurge of Gandhara in the early 20 th century,the author analyzes the reasons and discusses the transition between the two types of images,Some Japanese scholars have misleading influence on the research of early Northern Wei Dynasty.Therefore,we see that the misunderstood Northern Wei Dynasty,the style of the Northern Wei Dynasty is not proved by the influence of Gandhara,and points out that the characteristics of Gandhara's image are actually existed in the images of Northern Qi in Qingzhou;In the discussion of the Tuoba Xianbei model and the originality and national appearance of the images in the early Northern Wei Dynasty,it is revealed that the Northern Wei Dynasty statue is a kind of image creation based on the combination of the nouns and scenes described in the Scriptures,rather than the imitation of the true powder of Gandhara;The article shows the Xianbei elements and the Central Plains elements of the origin of the early Northern Wei Dynasty.In the analysis of the characteristics of the images(for example,the Northern Wei Dynasty in Qingzhou),the paper analyzes the influence of the Han painting stone and the stele of the Northern Wei Dynasty,bronze and bronze statues one by one.Through the comparative analysis of the scale characteristics of the Northern Wei and gandoro statues,It is further confirmed that there are great differences between the early and middle period of Northern Wei Dynasty and Gandhara.The third chapter is the change of style from the origin and form of stone carving in Qingzhou and Northern Qi Dynasty: firstly,the transformation from carrier to noumenon is analyzed.The transformation from stone as carrier to stone body(Beiqi)has been completed;Secondly,the type analysis from the perspective of source style: From the perspective of the influence of Gandhara to Gupta,the paper discusses the influence of the plaster and bronze statues of Gandhara on the feminization and smiling enhancement of the Central Plains statues,and compares the characteristics of the stone and mud statues of Gandhara with those of Northern Qi Dynasty of Qingzhou,The results showed that the characteristics of Gandhara plaster were similar to those of Qingzhou Northern Qi Dynasty;The types analysis from the perspective of body structure mainly includes face analysis,the evolution of "phase" and "good" Scripture and the analysis of "phase" in Northern Wei and Northern Qi dynasties;In the analysis of the influence and type of the original statue of the statue in Northern Qi Dynasty of Qingzhou,the author established the close relationship between Gupta Mathura and Gandhara(sitting image)and the measurement of the statue measurement,and determined that they were consistent with and inherited the traditional measurement of ancient Indian Buddhist statues;In the research,the order of the influence of the coincidence degree of the measurement features on the creation of Northern Qi Dynasty in Qingzhou is analyzed in the following order: Gupta sarnate,Gandhara,Gupta mathurasarnate,Gupta Matura,Gupta Mathura,and the image measurement are measured by the attached drawings,among which Gupta sarnate type images have the strongest correlation degree,The measurement indicated by the measurement is relatively weak in relation to the statue of Qingzhou and Northern Qi Dynasty;By means of scale research,the author thinks that the statue of Qingzhou and Northern Qi has not formed a clear measurement system,but the exploration track in the image can be seen that many measurement norms in Northern Qi Dynasty can be used in workshops or regions.