佛教美术

论我国的佛教美术及其传播

Remark on Our Country 's Buddhist Art and Its Spread

佛教美术中的维摩诘题材释读

A Reading of Vimalakirti Images in the Buddhist Arts

魏晋南北朝时期佛教美术对当时绘画与雕塑的影响

The Influence of Buddhist Arts on Drawing and Sculpture in Wei Jin Southern and Northern Dynasty

克孜尔石窟壁画研究是西域美术史和中国佛教美术史的基础课题之一。

The study of Kizil grotto fresco is one of the basic subjects of fine arts history of Chinese western region & Buddhism .

从日本的农耕社会和佛教美术时代到浮世绘世俗化时代，中国的佛教文化、唐宋文化对其都产生了巨大的影响。

Chinese Buddism culture and the Tang and Song culture greatly influence Japanese arts at different stages of the arts history of Japan .

在中国佛教美术发展的历史进程中，经历了一个外来艺术本土化、宗教艺术世俗化的过程。

The development of Chinese Buddhist Arts has gone through the process in which the foreign arts became naturalized and the religious arts became popularized .

维摩诘经变是佛教美术中普遍而又独特的题材，对中国文化思想乃至艺术精神都产生了深刻影响。

The picture of Vimalakirti is a prevalent and particular theme in the art of Buddhism , which influenced the cultural idea and the artistic spirit greatly in China .

佛教美术是中华美术的重要组成部分，因此对美术专业的学生进行佛教美术的审美教育大有必要。

The Buddhist art is an important component of Chinese fine arts , thus it is necessary to carry Out aesthetic education in Buddhist aart among the students specialized in fine arts .

飞天是佛教美术中以绘画、雕塑等形式出现的装饰性艺术形象，也是敦煌壁画中最有特色的一种装饰画。

In Buddhism art , Flying Apsaras is the decorative art figure , which displayed by painting , sculpture , etc , at the same time is the most characteristic adornment picture in Dunhuang mural .

在长期对峙、融合中，四家样由佛教美术传入中国的实践者渐变为本土文化传统的建设者，其角色变化是文化交流的双向选择结果。

In the long-term confrontation , integration , the " four styles of Chinese buddhist painting " changed from the practice of Chinese Buddhist art into the local cultural traditions builders , the changed role is the result of culture exchanging two-way choices .

佛教美术在经历南北朝时期的第一次高峰之后，在唐代由于统治者兼容并包的宗教政策，佛教在进一步发展的同时，本土化进程越来越快。

The buddist art after experiencing period first time in South and North Dynasty high peak , in Tang Dynasty because the ruler permits concurrently and the religious policy , the buddist art in the further development at the same time , the localization progress is more and more quick .

同时，作为交流，佛教与佛教美术对中国的影响是渐进的，也必然受着中国社会体制、礼俗、文化乃至生产条件制约与影响。

Meanwhile , as the exchange of Buddhism and Buddhist art of China 's influence is progressive , it will certainly hit Chinese social system , custom , culture and production conditions and constraints .

中国佛教造像中的供养人像&佛教美术史研究的新视点

Donor Figure lmages in Chinese Buddhist Sculptures : A New Viewpoint for Research on Buddhist Art History