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The bibliographic record is provided by 李玉珉老師.
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《法華經》佛性觀的形象詮釋 -- 莫高窟第285窟南壁故事畫的思想意涵=An Iconographic Explanation to The Ideological Essence of Mahayana Buddhism in Meditation Embodies in The Saddharma-pundarika-sūtra |
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| Author |
張元林
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.6 (總號=n.88) |
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| Date | 2004.12 |
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| Pages | 7 - 13 |
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| Publisher | 敦煌研究編輯部 |
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| Publisher Url |
http://www.dha.ac.cn/
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| Location | 蘭州, 中國 [Lanzhou, China] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Keyword | 法華經; 第285窟; 第285窟南壁; 故事畫 |
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| Abstract | 本文認為 ,莫高窟第 2 85窟南壁出自不同佛經的故事畫被選繪于同一個壁面 ,并非隨意之舉 ,而是相互關聯 ,有著共同的思想基礎的 ,這一思想基礎就是《法華經》所倡導的“眾生皆有佛性”思想 ,它們出現在 2 85窟 ,與其作為禪窟的功能密切相關 ,是“法華三昧”禪法的具體體現。
This article is trying to discuss the contents of mural motif on the southern wall of the main-chamber of Cave 285 and put forwards a viewpoint that the motif of the narrations was sharing the same ideological essence of the Mahayana Buddhism that was commonly known as For the Buddha-nature remains in all of live beings as wheat-nature remains in all wheat. And this is the basic ideological essence that was strongly advocated in the Saddharma-pundarika-sūtra. Although the narrative story paintings illustrated on the southern wall of the main-chamber at Cave 285 were found to belong to the different Buddhist textual sources and had been chose to painted together on a wall at the same time, there were still signs showing a rather interrelated connection between them. Those story-telling narrations, together with the meditating function of the building of small shrines at the southern and northern side of the cave 285 in exist, served to the ideological essence of Mahayana Buddhism in Buddhtand was the concrete embodiment of the Lotus Samaya , especially in meditation Samaya. |
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| ISSN | 10004106 (P) |
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| Categories | 石窟; 佛教圖像; 繪畫 |
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| Dynasty | 南北朝-北朝-西魏 |
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| Regions | 甘肅(敦煌莫高窟) |
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| Hits | 481 |
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| Created date | 2016.05.12 |
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| Modified date | 2018.03.19 |
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