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| Maitreya, the Saviour? Enigmatic ‘Mahābodhisatvas’ in Kucha | ||
| 作者 | Zin, Monika (著) |
|---|---|
| 出處題名 | Hualin International Journal of Buddhist Studies |
| 卷期 | v.6 n.1 Special Issue |
| 出版日期 | 2023.05 |
| 頁次 | 336 - 378 |
| 出版者 | Cambria Press |
| 出版者網址 | http://www.cambriapress.com/ |
| 出版地 | New York, US [紐約州, 美國] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 附註項 | 1. Special Issue: Buddhist Narrative Literature. 2. Author Affiliation: Saxon Academy of Sciences and Humanities / Leipzig University, Germany. |
| 關鍵詞 | Kucha; Buddhist murals; self-sacrifice; Maitreya; Avalokiteśvara |
| 摘要 | Narrative art requires pictorial conventions to convey the content of pictures. Artists have to provide information about the social status of a person, the place and time of an event, etc., without employing words. Pictorial conventions have to be consistent to be understandable; any deviation will be detected and is therefore probably meaningful. In paintings from Kucha, a clear distinction is made between the headgear of a king and the hairdo of a Brahmanical ascetic. However, in a number of jātaka representations the self-sacrificing king is shown with the hairstyle of a Brahmanical ascetic. There even are jātaka paintings in which the Bodhisatva is shown with a mandorla—a feature reserved in Kucha exclusively for the samyaksaṃbuddhas and the ‘Mahābodhisatvas’ like the future Buddha Maitreya. It is obvious that the paintings are transmitting a particular message. But how would a viewer in the past have understood, for example, an image of the King Pradīpapradyota—shown guiding the merchants on their way with his hands burning—represented with the ascetic hairdo of Maitreya… or rather, of Avalokiteśvara? |
| 目次 | Abstract 336 Keywords 336 Bibliography 370 Abbreviations 370 Primary Sources 371 Secondary Sources 371 |
| ISSN | 25762923 (P); 25762931 (E) |
| DOI | 10.15239/hijbs.06.01.08 |
| 點閱次數 | 195 |
| 建檔日期 | 2024.08.23 |
| 更新日期 | 2024.08.27 |
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