| The period covering the two dynasties,Sui and Tang,is the heyday of sculpture art not only in the history of China,but also of Shanxi province.As the carrier of the Buddhist art,many temple-based sculptures in Shanxi,painted or sculptured,all presented the same merits.The compatibility and mutual reference between painted sculptures and traditional Chinese painting art have made a change in the monotonicity of clay materials,enriching the art language of sculptures,playing an important role in the change of statues art into localization of secularization as well as shaping the unique artistic charm of the Buddhist images in China which is different from the western India.Ancient temple-based painted sculptures in Shanxi province disperse around the province,which makes it impossible to carry forward a comprehensive study in a short time.Nanchan and Foguang Temple,located in Wutai county Shanxi province,are well known at home and abroad for its majestic wooden architecture art and bold clumsy painted sculptures art of Tang dynasty.As the ancient and precious history culture relics in Tang dynasty,the painted sculptures of these two temples are taken as the center objects in the study.Temple-based painted sculptures are the few existences of the statues in Tang dynasty till now.Being created in the periods close,all of them have preserved the style of Tang dynasty to some extent,but meanwhile,each of them has its own characteristics.They are the essences of Buddhist art of Tang dynasty and the treasure of China’s ancient painted sculptures,which fully presents the peak of statue making of Tang dynasty and perfectly illustrates the mutual reference between the methods of sculpture and painting.The magnificent Butsudan and painted sculpture in Nanchan and Foguang temple that adheres to the Tang and Song Dynasties’ temple hall statues combination form,are very delicate in layout.Figure there is rich and muscle is better than bone,fully displaying Tang style.In character modeling,on the base of the proportion of realistic shape,size,structure,based on the exploration of its gaseous pulse,by meticulously describing the look and appearance of different people,efforts were made to show air of the character.Languages used in the artistic expression of statues include:color and lines which are not independent,are still parts of the Chinese traditional painting system.The composition of its color,line drawing arts and law of blooming are the same as Chinese painting art,which contains a strong aesthetic psychological factors and aesthetic creation factors.The integration of the line,coupled with the manifestation pattern featured with monochrome flat coating and multicolor juxtaposition,will make the color block arranged in parallelism in an attempt to constitute the visual form of the flat overall.The expanded combination of statues cleverly show the formal beauty of China painting composition that unity between unevenness and the trend of symmetry,seeing big from little unified in scene segmentation structure,combination of movement and still unified within a specific Buddhist context.It is a gradual change from the plane to the specialization.In addition,the statues employed the artistic method of symbol and to draw on the artistic conception theory of" foreign context"and "the implication" in the traditional Chinese painting in the process of spreading the Buddhist dharma.The narration and expression of the Buddhist concept is abstract and elegant,and a poetic plots of the Buddhist story is shaped,and the same artistic characteristics the same as traditional Chinese painting which emphasis poetic and painting mood.It fully embodies the integration of painting and sculpture,and makes the statue present a more typical oriental aesthetic taste.The painting art in the statues of the two monasteries is not only a kind of inheritance to China traditional undivided sculpture,but also is influenced by painting style of the dynasty to some extent to show a same vague form. |
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