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本資料由 李玉珉老師 提供
| 北朝佛傳雕刻所見佛教美術的東方化過程──以誕生前後的場面為中心 | ||
| 作者 | 李靜杰 |
|---|---|
| 出處題名 | 故宮博物院院刊=Palace Museum Journal |
| 卷期 | n.4 |
| 出版日期 | 2004 |
| 頁次 | 76 - 95 |
| 出版者 | 紫禁城出版社 |
| 出版者網址 | http://www.culturefc.cn/index/product.jhtml?act=index |
| 出版地 | 北京, 中國 [Beijing, China] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 關鍵詞 | 佛傳圖 |
| 摘要 | 本稿著眼于北朝佛傳雕刻的托胎靈夢、樹下誕生、七步、灌水四個場面,論述了佛傳圖由西北印度經新疆,向中原北方傳播期間呈現的東方化過程。北魏中期的佛傳圖以吸收西方因素為特征,諸佛傳場面的表現大體可以在犍陀羅雕刻中找到祖形,克孜爾石窟壁畫反映了佛傳圖在新疆初步東方化,傳播到中原北方以后東方化程度加深。北魏晚期及其以降,佛傳圖在北魏中期基礎上適應漢文化環境進一步東方化。 This article focuses on the depiction in stone sculpture of the NorthernDynasties of four scenes surrounding the depiction of the birth of the historical Buddha-the miraculous dream and conception, the birth beneath the tree, the seven initial stepsof Gautama, and the anointment or bathing with water, and describes the passage of imagesof these scenes from north-western India through Xinjiang and to the northern areas of theCentral plains of Chian, tracing the process of Sinicization. In the mid Northern Weidynasty scenes from the life of the historical Buddha are characterized by the extent towhich they draw on Western elements, and the ancestral images of most scenes can be foundin Gandharan carving. The wall paintings in the Kizil Caves represent the preliminarygradual acculturation of these images, and after representations of these scenes have madetheir appearance in the northern part of Central China the Sinicization is intense. Fromthe late Northern Wei dynasty onwards, there is a progressive Sinicization in these imagesfrom the life of the historical Buddha on the basis of images of the mid Northern Weiperiod. |
| 目次 | 一、托胎靈夢場面 76 二、樹下誕生場面 85 三、七步場面 88 四、灌水場面 90 |
| ISSN | 04527402 (P); 04527402 (E) |
| 研究類別 | 佛教圖像; 雕塑造像; 繪畫 |
| 研究時代 | 南北朝-北朝 |
| 研究地點 | 甘肅; 陝西; 新彊 |
| 點閱次數 | 74 |
| 建檔日期 | 2016.05.12 |
| 更新日期 | 2019.09.17 |
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