佛教绘画中国化的启示

通过文献记载佛教绘画自东汉末年传入中国,曾经历了一段漫长的"夷""夏"二体的冲突与融合的过程。在"以夏变夷"这一思想指导下,东汉至西晋是佛教绘画实现中国化的第一阶段。西晋至东晋是第二阶段。东晋末至唐末,是第三阶段。唐以后中国绘画的民族风格,就是在中国本土绘画风格不断地吸收和溶化外来绘画风格的过程中逐渐发展起来的。因此,研究自东汉以来佛教绘画传入中国后,"夏""夷"两体绘画风格的融合及中国画民族化这一历史发展过程,在继承本土绘画的民族风格基础上,要不断吸收外来文化的营养,对处于新的中外绘画交流与碰撞背景中的当代中国画的发展,将具有重要的意义。

Buddhist enlightenment of painting of native Chinese artistic works

Since its introduction to China in the late years of the Eastern Jin Dynasty,the Buddhist paintings have undergone a long period of conflict and blending between "Xia"(Chinese) and "Yi"(foreign)styles.Wher the concept of transforming foreign style to Chinese style was prevailing,there appeared the first stage of Buddhist paintings with native Chinese character,which was lasting to the second stage from the western tc Eastern Jin Dynasty,and from the late years of the Eastern Jin to the whole period of the Tang Dynasty was the third stage.After the Tang Dynasty the paintings with native Chinese style was formed and developed in the course of absorbing and blending exotic styles.Therefore,it is very important to understand and how the two styles,"Xia" and "Yi"were blending each other,and how the traditional Chinese paintings were absorbing exotic nutritions to form their own style on the basis of inheriting native Chinese cultural.For the traditional Chinese paintings today it is especially necessary to absorb the exotic styles and features to develop themselves on the background of cultural exchanges with more and more other countries.