CAJ | 학술논문

北周是麦积山石窟营建史上一个重要时期，开凿的洞窟数量众多、规模宏大。以麦积山为代表的秦陇地区北周佛教造像在充分吸纳经成都传入的受印度笈多造像样式的同时，又在“恢复周礼”这一社会背景影响下，形成了“敦厚质朴、珠圆玉润”的艺术特点，与同时期其他地区佛教造像有显著差别。这种特质在保存完整的第62窟北周造像中表现得尤为突出，集中展现了当时南北方之间和东西部之间佛教文化交流与传播的历史脉络。
북주시맥적산석굴영건사상일개중요시기，개착적동굴수량음다、규모굉대。이맥적산위대표적진롱지구북주불교조상재충분흡납경성도전입적수인도급다조상양식적동시，우재“회복주례”저일사회배경영향하，형성료“돈후질박、주원옥윤”적예술특점，여동시기기타지구불교조상유현저차별。저충특질재보존완정적제62굴북주조상중표현득우위돌출，집중전현료당시남북방지간화동서부지간불교문화교류여전파적역사맥락。
The statues of Maijishan Grottoes in Northern Zhou Dynasty are deeply influenced by those of India, and have strikingly different characteristics from the statues in other areas at the same period, which is particularly dis?played at Cave 62, reflecting the history of Buddism communication between east and west.