a = BACT UTTER, SERRA SLUT, isk. Bea. A Se, ER SUL UTI T AAT CMR RPK EL SPR, RAL AMIE HCA, EAM RAT AR MR ISIE, EA AHA CMRI, BARS ARIE, BSAA AL, SCBL EAS AR aE ADHERE ARH. BAA ANH RR. SES SURESH, HONORA STAR BEE RU ARLE Eel RAL NED HF (343-413) Fe ‘BLO RIA SAL a ANAL A AST a A DART RARER MON ZA. ROMA, CRAKE SR ABO, CMTE ARAL ARR OPER MH MRE. UL MERELY AOSD OR AMENRE. SEDUCE TRAP RAE REA BRL SWRA KE AMM AE. Rei: Gh Rl ENEAbstract If you want to understand the art and artistic style of a place, it is essential to be familiar, with and further study its living environments such as geography. history, nationality, race, religion, language and so on. ‘The Buddhist cliff-relief carvings of Lashao Temple, which are located in Wushan County, Tanshui City, Gansu Province, are cliff-relief masterpieces of human beings. One of the cliff-relief carvings — Big Buddha is the biggest and greatest Buddhist cliff-relief carving in China. It is typical artistic style of the North Zhou Dynasty. The artistic style of Big Buddha succeeded to ancient Buddhist carvings as well had its development and innovation of its own stage, which tured out that it was not only characterized by its stage and environments but distinct in its own regional character from other regions’ carving forms. The thesis is composed of four chapters. In Chapter One, by objectively introducing the ‘Wushan County’s geographical environment, history development and human character etc., author gave a living space by which the cliff relief of Lasiao temple was formed. Chapter ‘Two was organized by cluing the missionary course of Kumarajira (343-413), a Buddha Hierarch. Studying on the character of Buddhist carvings before the North Zhou Dynasty as well as the different regi is’ Buddhist carvings of the North Zhou Dynasty, author presented unique artistic style of carvings of Lashao Temple by 2 comparison both.on time and space, This part is not only the key point but the topic of the thesis. In Chapter Three, author discussed the basis which formed this unique artistic style from many factors such as Buddhist rites, acsthetie tendency of the stage, local human character and so forth, which was expected to have a profound comprehension of former part. The Chapter Four was dedicated’ to emphasize the history reputation and artistic value of the cliff relict of Lashao Temple and was concluded as contemporary human consideration. Keywords: Buddl 2m; carvings; artistic style; pristine and majesty MmEWS. AERA — sR LH SPR ATT = Tif HRERERRERRARP WUE L—, PARRA. MAE. RAB, RARKRUAR. BUR. IAR, AES RMAAA BR EE, RUA RAZ —, CLT AMR RL BRR ALAS 25 4S HE RE A EIR, AAG SW LMEARE. ATAARREPR WE. BB. RBAESMRKE BF, LSARALA. ALLIANT ERMA, OETA ERI CATE S59E) Hila, AEA 1400 FH, RAK. KG PAEAAL 1000 WHA, 40 OK, RANE, AIMEE. WEARER, MLK, K— LAR PANO GRR, YF USE eM Dy FE SEE TSE A ARE TAS RPS Ry RD, McA ROEM, DOT STA. —. PRAWN: BGR, TRIPS LT RESETS EVE, BERR SE AR AES ES FLT RELA. PH RAERRS FPGA, BTR HT, ER AM RAG. BRYA GMZ—~HRRUARAE, AT RENATTS, HATS RAR OA BED Z >. LM CHET EH REE BPARRBSULMAEE, BAT ALE : # GRUBE) &, GRA. RSSUGEP Tamale (SRR), MRE RULE, BHEKR. KARMA S, KEES IA. TEER RLU, PRUE PTE RA, Ras RMI ARE 2k. AORN, BPI EOL, ST MINERS ARAM MSA AAT BER: SBE BRU R I AK, DEY HES, ALESRAALNERARLARABMNBA, BIL, ASR MMA. RE, SARCEAE AT, PR SHANE ae MELO. (ea, HALA MRA, AIAN 2 MAAS OME, CURR STE ROMER. DAFA R ERR EA. ROR, OSA, LATRRAM ERENT. KE. MAE, TREE ME RATA ART ARERR DBM =. FRR STERA: AGE FAR AN SF BR PME ROBE, AA AS PE SIE AE BR TAD LA ST.