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敦煌隋代中心柱窟的構成=Constituents of the Central-Pillared Caves of the Sui Dynasty at Dunhuang
Author 趙聲良 (著)=Zhao, Sheng-liang (au.)
Source 敦煌研究=Dunhuang Research
Volumen.6 (總號=n.154)
Date2015.12
Pages13 - 20
Publisher敦煌研究編輯部
Publisher Url http://www.dha.ac.cn/
Location蘭州, 中國 [Lanzhou, China]
Content type期刊論文=Journal Article
Language中文=Chinese
Note作者單位:敦煌研究院編輯部
Keyword敦煌=Dunhuang; 隋代=Sui dynasty; 中心柱窟=central-pillared cave; 構成=constituent; 三世佛=Buddhas of the Three Periods
Abstract敦煌隋代中心柱窟有4座,分為兩個類型:一是須彌山式的中心柱,包括第302、303窟,中心塔柱形與須彌山造型有關,表現的主題是三世十方佛;第二類是中心柱正面不開龕的大型窟,包括第292、427窟,洞窟前部的三鋪佛像表現的是三世佛主題。三佛造像在中國石窟中出現較早,北朝后期華北地區的石窟表現為較典型的三壁三龕窟,敦煌隋代洞窟受其影響,在中心柱窟中也表現出三世十方諸佛的主題。從造型及裝飾風格因素來看,反映了敦煌隋代石窟在接受中原文化影響的同時也受到印度和中亞的影響。

There are four caves from the Sui dynasty at Dunhuang designed around a central pillar which are classified into two types: first, caves 302 and 303, in which the central pillars are shaped like Mt. Sumeru to represent the Buddhas of the Three Periods( the past, present, and future) and Ten Directions and; second,caves 292 and 427, in which the central pillars do not have a niche in the front side and the Buddhas of the Three Periods are represented by three groups of statues in the front of the caves. Statues of the Buddhas of the Three Periods appeared early in Buddhist caves in China. In later Northern Dynasties, this theme was represented in the caves of Northern China by three niches in different side walls. Influenced by this practice,the central-pillared caves of the Sui dynasty at Dunhuang further highlight the theme of the Buddhas of the Three Periods and Ten Directions. The forms and decorative styles of these caves suggest that the design was influenced by Central Plain culture as well as Indian and Central Asian cultures.
ISSN10004106 (P)
Hits210
Created date2016.06.13
Modified date2018.05.29



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