進入魏晉南北朝時期，佛教藝術(shù)的創(chuàng)作成為歷史，佛教的造像藝術(shù)也逐漸成為中國古代石雕藝術(shù)的主要表現(xiàn)形式之一。
In the Wei, Jin, southern and Northern Dynasties, the creation of Buddhist art became history, and the Buddhist statue art gradually became one of the main forms of Chinese ancient stone carving art.
另一方面，魏晉南北朝雕塑在傳統(tǒng)的基礎(chǔ)之上也有了進一步的發(fā)展，民族之間的斗爭與融合，加上異國文化的影響，使得當(dāng)時的石雕藝術(shù)呈現(xiàn)出更為豐富多彩的面貌。首先是帝陵石刻群雕，比兩漢更為常見，風(fēng)格樣式也發(fā)生了明顯的變化，其中的代表作有梁文帝肖順之建陵和梁安成康王肖秀墓前石雕。
On the other hand, sculpture in the Wei, Jin, southern and Northern Dynasties also had further development on the basis of tradition. The struggle and integration of ethnic groups, together with the influence of foreign culture, made the stone carving art at that time presented a more colorful appearance. The first is the group carvings of imperial tombs, which are more common than those in the Han Dynasty, and the styles and styles have also changed obviously. Among them, the representative works are the stone carvings in front of the tomb of Xiao Shunzhi, Emperor Wendi of Liang Dynasty, and the stone carvings in front of Xiao Xiu's Tomb of emperor Kangkang.
六朝的墓表則直接繼承漢晉以來的形制，它是在雙螭盤曲的底座上樹起多棱的柱體，柱體上端有銘刻的方版，最上為柱頂，在雕有覆蓮的圓蓋上置一小辟邪。其中六朝肖景墓表的形制最為俊健華美，雕飾雖多而無繁褥之感，從其精麗的蓮蓋頂飾，我們也看到了佛教藝術(shù)對中國傳統(tǒng)石刻的深遠影響。遺憾的是，北朝的帝陵石雕保存不佳，僅在洛陽邙山發(fā)現(xiàn)有石雕文吏殘象，通高約有3米以上。不過我們從現(xiàn)存的北魏永固陵墓室中的浮雕群像，仍可窺視出北魏石雕藝術(shù)的杰成就。
The tombstone of the Six Dynasties directly inherited the shape of the Han and Jin Dynasties. It was built on a double curved base with a multi edged column. On the top of the column was an inscribed square plate. The top of the column was the top of the column. A small anti evil spirit was placed on the round cover carved with lotus. Among them, the shape of Xiao Jing's tombs in the Six Dynasties is the most beautiful. Although there are many carvings, there is no sense of complicated mattress. From the exquisite lotus roof decoration, we can see the profound influence of Buddhist art on Chinese traditional stone carvings. Unfortunately, the stone carvings of the Imperial Mausoleums of the Northern Dynasties were not well preserved. Only in Mangshan Mountain of Luoyang were found the remains of stone carvings with a height of more than 3 meters. However, we can still see the outstanding achievements of the stone carving art of the Northern Wei Dynasty from the relief images in the tomb chamber of YONGGU tomb in the Northern Wei Dynasty.
由此可見，至南北時期，佛教藝術(shù)已滲透到石雕的各個領(lǐng)域，并給它注入了前所未有的活力。
It can be seen that Buddhist art has penetrated into all fields of stone carving and injected unprecedented vitality into it.