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金翅鳥圖像分析=Analysis of Garuda Images |
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| Author |
李靜杰 (著)=Li, Jing-jie (au.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.4 (總號=n.194) |
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| Date | 2022 |
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| Pages | 36 - 50 |
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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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| Note | 作者單位：北京清華大學 |
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| Keyword | 金翅鳥圖像=image of Garuda; 犍陀羅=Gandhara; 龜茲石窟=Qiuci Grottoes; 阿育王塔=Ashoka pagoda; 六拏具=Khri drug-vgyogs |
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| Abstract | 佛教以金翅鳥擒蛇比喻修行者制伏其心，具有這種象征意義的金翅鳥圖像創始于古印度貴霜朝，伴隨著犍陀羅文化獲得初步發展，之后在古龜茲地區、漢傳佛教文化中獲得進一步發展，再后藏傳佛教金翅鳥造像盛行于漢地。金翅鳥圖像經歷幾近兩千年歲月，分布在綿長又廣闊地域，成為具有頑強生命力的象征性佛教文化符號。
In Buddhism, the image of Garuda catching the Naga is used as a metaphor for the suppression of desire. The use
of images of Garuda to express this symbolic significance first began in the Kushan dynasty of ancient India. After an initial period of emergence in Gandhara culture, these images further developed in the region of ancient Qiuci （Kucina） and in Han Chinese
Buddhist culture. By this time, statues of Garuda from Tibetan Buddhism were popular in places dominated by Han Chinese. Images of Garuda have experienced nearly two thousand years of history and influenced the culture of an immense area in Asia, and
remain a powerful symbol emblematic of Buddhist culture. |
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| Table of contents | 一佛教典籍記述金翅鳥情況
二古印度金翅鳥圖像
三龜茲石窟金翅鳥圖像
四漢地漢傳佛教系統金翅鳥圖像
（一）漢地一般遺存金翅鳥圖像
（二）吳越阿育王塔式金翅鳥圖像
五漢地藏傳佛教系統金翅鳥圖像
六小結 |
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| ISSN | 10004106 (P) |
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| DOI | 10.13584/j.cnki.issn1000-4106.2022.04.015 |
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| Hits | 8 |
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| Created date | 2023.04.17 |
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| Modified date | 2023.04.17 |
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