敦煌莫高窟第76窟八塔变佛传图像源流探讨
发布时间：2019-01-04 14:03
【摘要】：佛传故事图像是佛教美术史上最普及化的题材,而随着佛教的流布,两千年来亚洲南北各地,均留有不同选题与风格的佛传。其中敦煌莫高窟第76窟八塔变佛传图像为宋代的作品,却与传统汉式的佛传风格大异其趣。本文首先叙述佛传在印度、中土的起源流传和印度与中土八相成道图像遗例在选题与风格的差距。其次讨论莫高窟第76窟八塔变佛传的选题与风格,从而追溯此图像所蕴含的印度笈多、波罗风格以及吐蕃、中土的成分。
[Abstract]:The story image of Buddhism is the most popular theme in the history of Buddhist art, and with the spread of Buddhism, in 2000, there have been different topics and styles of Buddhist biographies in the north and south of Asia. Among them, the eighth pagoda of Dunhuang Mogao Grottoes is the work of Song Dynasty, but it is quite different from the traditional Han style. This paper first describes the origin and spread of Buddhism in India, and the gap between the selection of topics and the style of the eight complementary Taoism images of India and China. Secondly, this paper discusses the topic and style of the eighth pagoda of Mogao Grottoes, and traces the Indian Gupta, Polo style and Tibetan and Middle Earth elements contained in this image.
【作者单位】： "中国文化大学"史学研究所;
【分类号】：K879.41
本文编号：2400385
[Abstract]:The story image of Buddhism is the most popular theme in the history of Buddhist art, and with the spread of Buddhism, in 2000, there have been different topics and styles of Buddhist biographies in the north and south of Asia. Among them, the eighth pagoda of Dunhuang Mogao Grottoes is the work of Song Dynasty, but it is quite different from the traditional Han style. This paper first describes the origin and spread of Buddhism in India, and the gap between the selection of topics and the style of the eight complementary Taoism images of India and China. Secondly, this paper discusses the topic and style of the eighth pagoda of Mogao Grottoes, and traces the Indian Gupta, Polo style and Tibetan and Middle Earth elements contained in this image.
【作者单位】： "中国文化大学"史学研究所;
【分类号】：K879.41
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