中国的佛教艺术,自汉传入中原并历经三个世纪的演化之后,终于至唐代以来,在艺术造诣上达到了其发展的巅峰时期。初唐时期,包括金铜佛在内的造像,虽一般很明显地保留了隋朝以前的遗风,但不置可否的,是其已将魏晋、齐梁时期轻盈飘逸的艺术风格,开始转换成包容宽厚的唐代时代风貌。与南北朝时期相比较,唐代的金铜佛造像的形象,渐渐已向饱满、丰盈发展。一般金铜佛像的造型比例匀称,站姿挺直。其令人倍感既有出世的超然与神圣,又有入世的情怀与亲近之面部,亦渐露出和蔼亲切的微笑。究其 Since the introduction of the Chinese Buddhist art into the Central Plains and after three centuries of evolution, China’s Buddhist art finally reached its peak of its artistic attainments since the Tang Dynasty. In the early period of the Tang Dynasty, the statues, including the Golden Copper Buddha, generally retained the legacy before the Sui Dynasty. However, it is not uncommon to consider that the art style of lightness and elegance in the Wei, Jin and Qilian periods has been transformed into an inclusive Generous Tang Dynasty style. Compared with the Northern and Southern Dynasties, the image of the bronze statues in the Tang Dynasty gradually grew to fullness and abundance. Generally shaped bronze statues of proportionally symmetrical, standing upright. It makes people feel both transcendental and sacred birth, but also the feelings of accession to the world and close to the face, but also gradually revealed kind and kind smile. Study it