佛教作为一种宗教形态,经历适应、改造、融合等许许多多的阶段,开始在中国取得一席之地,尤其到魏晋南北朝时期,已经在中国扎下根来,成为中国封建社会上层建筑和民族文化的重要组成部分。在佛教造像方面,汉唐时期的民间工匠,应用本土化的美学观念即主张“以形写神,神形兼备”,强化“传神”,充分体现了对“神似”的追求,对舶来佛教美术做长期而细致的识别和解读,从中汲取有益的艺术技巧,改造了异域情趣,开创了内具语境的全新话语,逐步映照出佛教造像的新语素——庄严静穆之美,典雅灵动 As a religious form, Buddhism began to gain a place in China through many stages of adaptation, transformation and integration. Especially to the period of Wei, Jin and Southern and Northern Dynasties, Buddhism took root in China and became the superstructure and national culture in China’s feudal society An important part of. In terms of Buddhist statues, the folk artisans in Han and Tang dynasties advocated the localization of aesthetics by advocating “to describe God with both deities and spheres” and to reinforce “expressiveness”, which fully embodies the pursuit of “deity-like” Do long-term and meticulous identification and interpretation, derive useful artistic skills from it, transform exotic tastes, create new discourses of internal context, and gradually reflect the new elements of Buddhist statues - beauty of solemnity and quietness, elegance and agility