The bibliographic record is provided by 李玉珉老師.
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| Author |
黃春和
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| Source |
收藏家=Collectors
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| Volume | n.8 (總號=n.58) |
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| Date | 2001 |
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| Pages | 32 - 35 |
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| Publisher | 北京市文物局 |
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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 | 祖師像; 藏傳佛教; 密教; 印度; 佛教教派; 南亞; 藏傳佛教造像藝術; 金剛乘 |
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| Abstract | 藏傳佛教造像藝術肇始于公元7世紀初，此後一直伴隨著藏傳佛教的發展而發展。千百年來，它在繼承印度密教藝術的展礎上，不斷融入西藏本土的傳統信仰和民族審美情趣，形成了獨特的藝術風貌。其中，造像種類繁多、形象複雜多變是最為引人注目的藝術特色。藏傳佛教以密教為主要特色，密教在宗教實踐中主張「即事而真」的理論
The portraits of Tibetan Buddhist patriarchs vary from place to place. But they have their universal law and common features. This paper will give you an introduction to the differences of Buddhist patriarchs portraits in different sects and different areas, so affording us an object example for understanding each patriarch’s social position. |
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| ISSN | 10050655 (P) |
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| Categories | 雕塑造像 |
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| Dynasty | 中國-無 |
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| Regions | 中國; 西藏 |
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| Hits | 307 |
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| Created date | 2016.05.12 |
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| Modified date | 2019.12.17 |
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