龟兹中心柱窟及其“帝释窟说法”源流新探

发布时间：2018-02-03 15:34

本文关键词： 龟兹中心柱窟帝释窟浮雕秣菟罗犍陀罗　出处：《南京艺术学院学报(美术与设计)》2017年01期 　论文类型：期刊论文

【摘要】：龟兹中心柱窟为克孜尔典型石窟之一,为古代龟兹地区佛教石窟的代表,学术界常常将中心柱窟看成是在犍陀罗"帝释窟"浮雕或在龟兹本地文化影响下产生。并未关注和深入探讨其石窟形制及源流,更多的资料发现克孜尔中心柱石窟整体形制明显受到早期印度"帝释窟"浮雕的影响,其主室结构及图像构成更接近印度贵霜朝晚期西南印度"帝释窟"浮雕,总体而言克孜尔中心柱窟正壁的特点更多的具有印度本土的因素,经贵霜和笈多时代及其后中印佛教交流,最终在克孜尔形成稳定的中心柱窟正壁"帝释窟"样式。
[Abstract]:Qiuci Central Grottoes is one of the typical Kizil grottoes, and a representative of the Buddhist grottoes in the ancient Qiuci area. Scholars often regard the Central column Grottoes as embossed statues in Gandhara's "Diaoshi Grottoes" or under the influence of the local culture of Qiuci. They have not paid close attention to and deeply explored the shape and origin of their grottoes. More data show that the overall shape of the Kizil Center Grottoes is obviously influenced by the relief of the early Indian "Imperial Grottoes", and its main chamber structure and image composition are closer to the relief relief of the "Imperial Grottoes" of southwest India in the late period of Kizil Dynasty. In general, the characteristics of the main wall of the Kizil Grottoes have more local Indian factors. Through the exchange of Buddhism between China and India during the Guishuang and Gupta times and later, a stable "Imperial interpretation Grottoes" of the main wall of the Kizil Grottoes was finally formed in Kizil.
【作者单位】：华东师范大学艺术研究所;
【基金】：国家社科基金重大项目“中印佛教美术源流”(14ZDB058)阶段性成果
【分类号】：K879.25;J312.2
【正文快照】： 2参见晁华山《二十世纪初德人对克孜尔石窟的考察及而后的研究》,载《中国石窟克孜尔石窟三》文物出版社,1997年12月第1版第1次印刷,第196-208页。3前龟兹研究所所长姚士宏先生考证了中心柱石窟壁画主题为“帝释窟说法”,并统计了14、58、63、80、85、92、97、99、100、123、1

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