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The bibliographic record is provided by 李玉珉老師.
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| Author |
劉永增
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| Source |
故宮博物院院刊=Palace Museum Journal
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| Volume | n.4 |
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| Date | 2013 |
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| Pages | 29 - 45 |
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| Publisher | 紫禁城出版社 |
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| Publisher Url |
http://www.culturefc.cn/index/product.jhtml?act=index
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| Location | 北京, 中國 [Beijing, 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 | 尊勝佛母曼荼羅; 成就法鬘; 法天; 曼荼羅=Maṇḍala |
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| Abstract | 敦煌石窟中的尊勝佛母圖像出現在西夏時代,是根據宋代法天譯《佛說一切如來烏瑟膩沙最勝總持經》繪制的。與之相似的經典有《成就法鬘》第191、211、212號,從表面上看兩經中記述的尊勝佛母成就法大體一致,但在思想信仰上卻有著本質的區別,前者是無量壽(光)佛信仰的產物,而后者則是在追崇毗盧遮那。研究結果表明,敦煌石窟西夏洞窟中出現的尊勝佛母像,為印度后期密教中流行的新樣式,它的傳入當與宋代天息災、法天等印度僧在中國的弘法傳教相關。本文主要對敦煌石窟中尊勝佛母曼荼羅中的諸尊像進行圖像學上的解說。
The image of Vijiya preserved in the Dunhuang caves appeared in ancient era of the Western Xia,which was based on the classical sutra of Taisho Tripitaka Vol.19,No.978(Fó Shuō Yī Qiè Rú Lái Wū Sè Nì Shā Zuì Shèng Z ǒ ng Chí Jīng)translated by renowned Monk Fatian of the Song dynasty.In general,Sādhanamālā(Chéng Jiù Fǎ Mán)provides the same text about the means for attainment of Vijiya in chapters 191,211 and 212 as this volume,but they each were the disciples of different faiths.The former followed Amitayua(Amitabha)Buddha while the latter believed Bairochana Buddha.It has been analyzed in this thesis that the image of Vijiya in the Dunhuang caves of the Western Xia age proved to be the newlydesigned image that was popular among the Tantrism of late Indian Buddhism.Its production was linked to the preaching of the eminent Buddhist monks like Fanxian and Fatian and others from India to China during the Song dynasty. |
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| Table of contents | 一、尊勝佛母像及相關經典 30
(一)法天譯《佛說一切如來烏瑟膩沙最勝總持經》與無量壽佛 30
(二)《成就法鬘》中的尊勝佛母與毘盧遮那如來 32
二、敦煌石窟中的尊勝佛母曼荼羅 35
三、結語 42
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| ISSN | 04527402 (P); 04527402 (E) |
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| Categories | 石窟; 佛教圖像 |
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| Dynasty | 西夏 |
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| Regions | 甘肅(安西榆林窟,安西東千佛洞) |
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| Hits | 319 |
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| Created date | 2016.05.12 |
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| Modified date | 2019.09.23 |
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