Art Style Research On Buddhist Grotto In Sichuan And Chongqing

It has the rich Buddhist Grotto resources in Sichuan and Chongqing, which is themost important distribution area of China Southern Grottoes, and the most importantelements of the history of China’s late Grottoes. In Nanchao dynsty,before officiallymade cave statues, Chengdu as the center of the Sichuan Buddhist stone statues andmonument blend the Northern Grotto style and Southern Jiankang statues design, andthen created their own unique creation. The Buddhist stone statues made in Chengduand its surrounding to fill the gaps in China Southern statues, and take the premierposition. In the late of BeiWei Dynasty, under the influence of the Northern and theCentral Plains caves statue’s prosperous, Guangyuan in the northeastern of Sichuanfirstly started making cave statues. The number of this term’s Buddhist Grotto is veryless, the style as well as learning from the North and Central Plains Grotto style. Sui andTang dynasties, the district of northern Sichuan such as Guangyuan,Bazhong’s cavestatues had began to flourish. In this term, the enthusiasm of making cave statues hadspreaded from Guangyuan, Bazhong to langzhong, Wangcang, Cangxi, then to Zitong,Mianyang, Leshan, Jiajiang, Renshou and Anyue,Dazu and so on.This terms cave statuesare very amazing. Grotto of the Tang Dynasty is still mainly inheritance and integration ofthe North statue style. With many factors interaction such as the political, economic,national character, social aesthetic and maid painting development, the grotto showingthe feature of stonge, power and unity in diversity. When come to Song dynasty, Withthe progress of the carving techniques and the development of Sichuan Tantra, Sichuanand Chongqing Buddhist Grotto had got the creative pinnacle. In Song dynasty, grottoscreated in Sichuan and Chongqing got rid of the dependence of the North and CentralPlain’s Grotto style,and casedt Chinese grotto art in the development of the third climax,can best embody the Chinese classical aesthetic sculpture create a model form, by virtueof the unique regional characteristics and style of the times. In Song dynasty, grottoscreated in Sichuan and Chongqing especially based on Dazu Baoding Tantric statuesand Laitan Two Buddhist temple statues as a typical representative, which let Chinesegrotto art localization the secularization mature and self-contained period in Songdynasty. Sichuan and Chongqing’s Buddhist Grotto in the Yuan, Ming and Qingdynasty still had the sporadic creation, artistic achievement is not high, but they broadenthe length of the life of the Buddhist Grotto in Sichuan and Chongqing,which mad the Grotto history of more than1400years, it is amazing.The paper’s main object is the Buddhist Grottoes in Sichuan and Chongqing. I tryto study the Buddhism Grotto’s style in Sichuan and Chongqing’s different temporal andspatial scales through dimensions of time (era) and space (geographical) horizontal andvertical cross-analysis study. I want to get a Relatively principled, systematic andobjective knowledge. Trying to establish a clear, three-dimensional Shu BuddhistGrotto style system.