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本資料由 李玉珉老師 提供
| 北魏坐榻維摩畫像源流考釋=Origin source of seated Image of Vimalakirti dating from the Northern Wei Dynasty | ||
| 作者 | 鄒清泉 |
|---|---|
| 出處題名 | 敦煌研究=Dunhuang Research |
| 卷期 | n.4 (總號=n.122) |
| 出版日期 | 2010.08 |
| 頁次 | 67 - 73 |
| 出版者 | 敦煌研究編輯部 |
| 出版者網址 | http://www.dha.ac.cn/ |
| 出版地 | 蘭州, 中國 [Lanzhou, China] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 關鍵詞 | 崔光; 宣武帝; 坐榻維摩; 云岡石窟; 宋元繪畫; 北魏 |
| 摘要 | 崔光實際上是促使維摩信仰在北魏中晚期廣為盛傳的關鍵人物,他對孝文、宣武、孝明三代帝王的影響,左右了北魏維摩信仰的歷史演進,同時也是平城時代后期云岡出現胡服坐榻維摩像的導源。這一畫像形式幾經演繹,發展出較為成熟的漢裝坐榻維摩形象,并對后世維摩畫像產生了影響,宋元繪畫中的坐榻維摩即發端于云岡,并經龍門、莫高窟漸次演繹為坐榻維摩的圖像系統。 A conclusion given by this article that CUI Guang was the key figure who had promoting the belief of Vimalakirti prevail in the middle and the later period of Northern Wei Dynasty because he had influenced over to three emperors of the Northern Wei Dynasty while had great power to promoting the development of Belief of Vimalakirti and directly creation of seated image of Vimalakirti in a foreign dress style in Yungang Grottoes during the later period of Pingcheng.This styled Vimalakirti has been fully developed and transmitted through several generations till the image was styled into a mature style of seated image in Chinese dress, and became a accepted image by inheritance for latter generations.The image of Vimalakirti seen in are work of the Song and the Yuan Dynasty could be traced back to Yungang Grottoes,Longmen Grottoes and Dunhuang Grottoes respectively. |
| ISSN | 10004106 (P) |
| 研究類別 | 石窟; 佛教圖像; 雕塑造像 |
| 研究時代 | 南北朝-北朝-北魏 |
| 研究地點 | 山西(大同雲岡石窟); 甘肅(敦煌莫高窟) |
| 點閱次數 | 251 |
| 建檔日期 | 2016.05.12 |
| 更新日期 | 2018.05.03 |
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