The Research Of Early Buddhist Grotto Art In Bashu Area

Bashu area, including Sichuan and Chongqing. Early refers to the late Northern Wei Dynasty, Northern Zhou Dynasty and Sui Dynasty. The starting of Bashu buddhist grotto art is later than the already mature Southern Temple statues in this area. When the Northern Wei Dynasty occupied Jianbei region in the year 505, Guangyuan area had become the front wharf of buddhist grotto art that entered Bashu area, and then spread to Bazhong, Langzhong that in northern Sichuan, Pujiang that in western Sichuan, Guangan that in eastern Sichuan and so on.From the theme of sculpture art, the theme of Bashu buddhist grotto in the later period of Northern Wei Dynasty are mainly the inheritance of the popular theme of North Central Plains. In the Northern Zhou Dynasty period, there appears disciples. To the Sui Dynasty, the eight classes of brave divine beings of human form and the light buddha are rarely seen in the North Central Plains, at this time it also created the earliest form of big sitting maitreya buddha in the Bashu area.From the artistic features of images statues, the statues of Bashu buddhist grotto in the later period of Northern Wei Dynasty is basically a continuation of the artistic style of “elegant-bone and clear-like”. The styling feature of buddha is flat and thin, the carve lines of clothing is succinct, it also has a quaint smile; The decoration of Bodhisattva is simple, on her clear-like face there also appears masculinity of the northern nomadic people; The Flying Apsaras is lissom and elegant. The statues in the Northern Zhou Dynasty is mainly affected by the “short and colorful face” painting style created by Zhang Sengyou. Thus the statue’s body are plump, the craftsman focus on the carve of body structure, but the proportion of the body is uncoordinated. The buddha’s wearing earrings and holding Mani orb are the emergence of new factors; The decoration of Bodhisattva is rich, they also show girl’s youthful and vitality; The disciples’ s age difference are not obvious. The buddha of Sui Dynasty are plump and strong, the proportion of the body tends to be accurate, the types of kasaya are rich, the carving techniques are skilled, all of this embodie the art spirit of powerful and bold after the unification of the country; The decoration of Bodhisattva is richer, the curve of waistline is apparent, so the feminine’s characteristics are gradually revealed; it has been established the disciples’ s age difference; the Flying Apsaras is natural and beautiful; the king show a bravery and strong warrior spirit.As the decoration design of grotto, form the later period of Northern Wei Dynasty to the Sui Dynasty, the decorative patterns of backlight, niche lintel, buddha seat of Bashu buddhist grotto are gradually enriched, the modes of composition are gradually changed, the carving techniques are gradually skilled. Especially the most characteristic niche for Buddha with curtain sculpture of Bazhong grotto is obvious.From the origin of Bashu buddhist grotto art, the grotto art in later period of Northern Wei Dynasty is mainly influenced by Luoyang and Longyou area. In the Northern Zhou Dynasty, it has influenced by the statues of Changan, yet the formation of Changan style has largely absorbed the new art style of the Southern Dynasties. The Sui Dynasty statues not only continue the Changan style, but also fuse the style of the Northern Qi Dynasty and the Southern Dynasties.It can be said that the development of early Buddhist grotto art in Bashu has laid a solid foundation for the flourishing of buddhist grotto art in the southwest area in the Tang and Song Dynasties.