张总

内容摘要：本文是对中国佛教美术内风格与样式之分析。唐张彦远《历代名画记》提出了中国佛教美术的四家样，影响甚巨。但是其中含有风格与样式的区别。近现代人文科学中美术史与古代画史等本质有所不同，使用的概念，范畴也都有不同。四家样中吴道子的吴带当风与曹仲达的曹衣出水是典型的风格，而由水月观音代表的周家样则是样式。厘清如此问题对于古代佛教艺术史有着重要的意义。

关键词：风格；样式；美术史；四家样；吴带当风；曹衣出水；水月观音

中图分类号：J19 文献标识码：A 文章编号：1000-4106（2017）03-0034-05

Abstract： A Record of Famous Paintings of the Past Dynasties by Tang dynasty painter Zhang Yanyuan believes that there are four Chinese Buddhist art styles respectively created by four famous painters that have proven particularly influential in the history of the art. The author of this paper notes， however， that there are significant differences between them in terms of patterns and styles. Fine art history in the modern humanities is different in nature from ancient art history since their concepts and categories are different. Among the four types mentioned above， the two exemplified by Wu Daozi and Cao Zhongda are representative styles both focusing on the description of the folds in clothes， whereas the third style of Zhou Fang， represented by paintings of the Water-and-Moon Avalokitesvara， focuses on patterns. To clarify such problems is of important significance for understanding ancient Buddhist art history.

Keywords： style； pattern； fine art history； four patterns or styles； Wu Daozis painting style； Cao Zhongdas painting style； Water-and-Moon Avalokitesvara

中國佛教美术上，有着种种重要的观念与说法。例如，张曹吴周四家样就是极为著名的一种说法。在近现代美术史论及考古等等方面，更是常有参照与引用，关系联结面既深且广。因而也有较简化甚或混淆未清之延用诸说，就此略加辨析或有必要。

一 曹张吴周四家样说

在中国美术的历史上，有着著名的四家样说。所说的即中国中古时期主要在佛教绘画领域的四位大师，所创造的“样”影响巨大，不仅各自绘出了杰作，且为百工所范，即为雕刻塑作匠师习学，因而称为四家样。“至今刻画之家，列其模范，曰曹、曰张、曰吴、曰周，斯万古不易矣。”[1-2]{1}。其“张家样”为南齐张僧繇所创、“曹家样”为北齐曹仲达所创、“吴家样”为唐吴道子所创、“周家样”为唐周昉所创。“四家样”之说，产生于唐代的张彦远（815—907）。而张彦远是中国最早且最重要的美术史家，有称誉之为中国“画史之祖”{2}。……