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| The Longmen Guyang Cave: Sculpture and Calligraphy of the Northern Wei=Sculpture and Calligraphy of the Northern Wei (386-534) | ||
| 作者 | Lee, Jung Hyun-sook |
|---|---|
| 出版日期 | 2006 |
| 頁次 | 465 |
| 出版者 | University of Pennsylvania |
| 出版者網址 | http://www.upenn.edu/ |
| 出版地 | Philadelphia, PA, US [費城, 賓夕法尼亞州, 美國] |
| 資料類型 | 博碩士論文=Thesis and Dissertation |
| 使用語言 | 英文=English |
| 學位類別 | 博士 |
| 校院名稱 | University of Pennsylvania |
| 系所名稱 | Art History |
| 畢業年度 | 2006 |
| 關鍵詞 | 石窟=cave; 雕塑=雕刻=Sculpture |
| 摘要 | The Northern Wei moved the capital from Pingcheng to Luoyang in 493. At the new capital, the non-Chinese emperor Xiaowen (r. 471–499) executed more aggressive cultural reforms than those implemented at the old capital. The aim of the so-called “Taihe Reforms” was to sinicize the state. The Guyang Cave, known as the first cave temple of the state among the Longmen group that was excavated after the move of the capital, is the embodiment of the emperor's desire for sinicization. This study explores how the emperor's cultural reforms affected the stylistic changes in sculpture, inscriptions, and calligraphy of the cave during the last decade of the fifth and the first decades of the sixth centuries. Clearly, the sculpture shows us the modification of dress code in both religious and secular figures; they were portrayed in a traditional Chinese manner. The inscriptions demonstrate the execution of a name code and convey traditional Chinese ideology. The calligraphy displays the change from the stele style to the Southern “model calligraphy” style. Each and every element in the cave thus represents a decision to follow the past and contemporary Chinese dynasties. In this respect, this cave is a political expression of the ruling class of the time. It is of importance because it shows how the art is profoundly tied with the social atmosphere and political situation of the time. |
| 點閱次數 | 232 |
| 建檔日期 | 2007.10.08 |
| 更新日期 | 2016.05.19 |
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