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柬埔寨位于印度支那半岛的西南部,滨临暹罗海湾。东有湄公河南北穿越,西有洞里萨湖调节水量,土地肥沃,物产丰富,为民族聚居之地,古有“黄金之国”的美称,在这里出现了东南亚最早的奴隶制国家。高棉人特有的智慧,再加上对宗教的虔城,使这个国家在6——13世纪创造出不仅在东南亚占居重要地位,而且具有世界声誉的建筑和雕塑作品。 柬埔寨古代石刻艺术的发展,可分扶南(1—6世纪)、真腊(7—8或9世纪初)、吴哥(9—13世纪)和吴哥以后(13世纪以后)四个时期。 扶南和真腊又可统称为吴哥前期。早在这个时候,智慧的高棉人民就已创造出具有世界声誉的大型石雕人像。十分可惜的是,扶南时期即6世纪前的大型石雕人像现已无一留存。唯1944年在俄厄(Oceo)港遗址出土的扶南小型青铜佛像可以证明,当时的佛像雕刻深受印度的影响,可以说是穆菟罗和阿玛拉尼提的模拟品。不过在湿衣透体的传统手法中,已找不到笈多时代佛像身上细密而匀称的衣纹。在塑造上显得更为朴实和概括,体积感更强,没有过多的加工修饰。除了领口和袖口边缘的线条起伏可以证明人像并非裸体之外,再也找不出任何着衣的痕迹。这种手法在某种程度上使人想起印度阿拉丸提的雕刻,
Cambodia is located in the southwestern part of the Indochina peninsula, bordering the Gulf of Siam. East Mekong north-south through the west of Tonle Sap Lake to regulate the amount of water, fertile land, rich natural resources for the place of ethnic settlement, ancient “gold country” reputation, here appeared in Southeast Asia’s earliest slavery countries. The unique wisdom of the Khmer, coupled with religious piety, has enabled the country to create, in the 6th to 13th centuries, buildings and sculptures that not only occupy an important place in Southeast Asia, but also have a world reputation. The development of ancient Cambodian stone carvings can be divided into four stages: south (1-6th century), real wax (7-8th or early 9th century), Angkor (9th-13th century) and Angkor (13th century onwards). Funan and really wax can be collectively referred to as Angkor earlier. As early as this time, the wise Khmer people have created large-scale stone carvings of world-renowned reputation. It is a great pity that there are no large-scale stone carvings in the Tenanain period, just before the 6th century. The small bronze statues of Funan Buddha unearthed at the site of the island of Oceo in 1944 prove that the carvings of Buddha statues at that time were deeply influenced by India and could be said to be mimics of Mululuo and Amarani. However, in the traditional method of wet clothes, the fine and well-proportioned clothing of the Buddha statue in many ages can not be found. In the shape is more simple and general, more sense of volume, not too much processing and modification. In addition to the edge of the neckline and cuffs edge ups and downs can prove that the portrait is not naked, no longer find any traces of clothing. This tactic, to some extent, is reminiscent of the carvings of Alabama, India,