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| 天門·天宮·兜率天宮 -- 敦煌第275窟彌勒天宮圖像的來源=Heavenly Gate, Heavenly Palace, and Tusita Heaven -- On the Iconographical Origin of Maitreya’s Tusita Heaven in Mogao Cave 275 | ||
| 作者 | 何志國 (著)=He, Zhi-guo (au.) |
|---|---|
| 出處題名 | 敦煌研究=Dunhuang Research |
| 卷期 | n.1 (總號=n.155) |
| 出版日期 | 2016.02 |
| 頁次 | 1 - 11 |
| 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 |
| 附註項 | 作者單位：何志國 |
| 關鍵詞 | 天門=Heavenly Gate; 漢晉佛像敦煌第275窟闕形龕=Han and Jin Buddhist Images; 彌勒天宮; Han and Jin Buddhist Images |
| 摘要 | 四川、陜北、河西本土漢晉以西王母為主神的天門圖像、長江流域漢晉佛像和犍陀羅彌勒天宮等,促成了敦煌第275窟北涼彌勒天宮圖像的出現,在敦煌北魏洞窟流行并影響云岡。中土早期彌勒天宮圖像的形成是犍陀羅佛像與漢地西王母神靈信仰傳統的契合,也是佛教藝術中國本土化的早期例證。 The iconography of the Heavenly Gate as the abode of the Queen Mother of the West from the Han and Jin style in Sichuan, North Shaanxi, and Hexi regions, Buddhist images of the Han and Jin dynasties in the Yangtze River basin, and the Heavenly Palace of Maitreya in Gandhara together led to the creation of images portraying Maitreya’s Tusita Heaven in Mogao Cave 275 of the Northern Liang dynasty. This new image was not only popular in the Northern Wei dynasty caves of Dunhuang, but also influenced the Yungang Grottoes.Early images of Maitreya’s Heavenly Palace in the Central Plains derived from the convergence of Gandharan Buddhist sculptures and Chinese belief in the Queen Mother of the West and present some early examples of the Sinicization of Buddhist art in China. |
| ISSN | 10004106 (P) |
| 點閱次數 | 488 |
| 建檔日期 | 2016.06.15 |
| 更新日期 | 2022.03.07 |
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