从神本向人本的回归——兼论灵岩寺佛教雕塑艺术的审美特色

佛教艺术也像其它宗教艺术一样,是以神为本的.在佛教传入中国后的历史演绎中,由于社会发展和现实生活的变化,以及起着决定性作用的佛教艺术的创作者的理性创造和人本主义情结,佛教艺术的内容越来越接近人的现实生活,越来越世俗化.人本精神自然地、不自觉地乃至自觉地进现、强化甚至稳固、发展.这种情况到了宋代表现得尤为明显.被誉为"海内第一名塑"的灵岩寺宋塑罗汉像,充分体现出在佛教艺术中人本精神从神本主义的回归,既不失佛教神祉的精神气韵,又具有世俗人物的音容笑貌,表现出与神性并无矛盾的人性与人情之美.

The Return from God - based to Man - based--Also on the Aesthetic Features of the Buddhist Sculptures in Lingyan Temple

Like other forms of art, the Buddhist art is also god-based. After its introduction into China, the Buddhist art became closer and closer to reality and more and more worldly due to the development of society and the change of real life, and the rational creation of Buddhist art creators and their humanism complex. The humanistic spirit appeared naturally and developed steadily. It was especially true of the Song Dynasty. The arhat sculptures made in the Song Dynasty in Lingyan Temple well displayed this artistic return, harmoniously combining both the grace of gods and the looks of worldly people.