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| Author |
陳清香
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| Source |
中華佛學學報=Chung-Hwa Buddhist Journal=Journal of Chinese Buddhist Studies
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| Volume | n.1 |
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| Date | 1987.03 |
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| Pages | 295 - 326 |
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| Publisher | 中華佛學研究所=Chung-Hwa Institute of Buddhist Studies |
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| Publisher Url |
http://www.chibs.edu.tw/publication_tw.php?id=12
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| Location | 新北市, 臺灣 [New Taipei City, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese; 英文=English |
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| Keyword | 佛教美術; 涅槃; 涅槃經; 佛經變相=經變=變相=變繪; 佛教藝術=Buddhist Art |
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| Abstract | 涅槃變相在佛教藝術史，是一重要題材，流行的時間相
當久遠，遍布的地域廣及亞洲各大小乘佛教國家. 可謂有佛
教信仰的地方，便有涅槃變相的創作.
本文首先引述涅槃變相的經典依據，即大小乘二部涅槃
經的內涵大要，及其他有記載佛涅槃前後情景的經典，其次
再引述佛涅槃前後的情節大要.
第四節以後，則舉出印度犍陀羅，秣菟羅，笈多等式樣
的涅槃變相，再沿絲路北上，舉出中亞，西域，敦煌等新舊
發現的臥佛，從而再介紹中原各地重要的變相遺蹟，而四年
前在連雲港孔望山的東漢石刻中，赫然出現的涅槃變，及
二年前在四川安岳發現的巨大石刻臥佛，都為佛教東傳的路
線及涅槃變風格，帶來重要的資料，因之引起中外學者大大
的矚目.
一般說，涅槃變可分二大部分，一是臥佛部分，一是舉
哀的弟子群部分. 臥佛的部分姿態大致依涅槃經所載，變化
不多，但印度，中亞，中原等各地的遺蹟，仍表現了那地域
與時間不同的差距. 而最精采的部分還是佛弟子部分，除
依修行果位的不同，而有菩薩，羅漢，天人等之不同程度的
哀痛表情，發揮了高度藝術手法外，前來奔喪的還有各國
各地的國王，王子，貴族，庶民等，從這些不同的人種裝扮
造形，更可以得悉當時當地的風土人情，是很不可多得的社
會史料.
In Buddhist art，the depiction of the Master's
`parinirvana` is an important theme. It was popular
for a long time and can be found in all `Theravada`
and `Mahayana` countries of Asia. We could well say
that in most places where Buddhists lived pictorial
representations of the `nirvana` scene were created.
The present paper first quotes in general terms
the canonical scriptures upon which these works of
art are based，primarily the `Mahayana` and
`Hinayana` versions of the `Mahaparinirvana Sutra`.
Then it adduces what other texts record concerning
the events before and after the `nirvana`.
Examples of `nirvana` depictions are introduced
beginning with Section Four. The survey starts from
the Indian styles of `Gandhara`，`Mathura`，and
Gupta, and proceeds along the Silk Road to Central
Asia, Tun-huang，and then China proper. A selection
of historical sites with `nirvana` representations
is given including the rock carvings at Mt.
K'ung-wang，`Lien-yun` kang，which were dated to the
Eastern Han Dynasty after their discovery four years
ago，or the huge stone sculpture of the reclining
Buddha discovered two years ago in `An-yueh` ,
Szechuan Province. Since they provide valuable data
on the route along which Buddhism spread eastward
and the styles of `nirvana` representations, they
have attracted attention from scholars all over
the world.
Generally speaking， representations of
`nirvana` are comprised of two parts：the reclining
Buddha and his mourning disciples. Although the
Buddha's posture usually corresponds to the
canonical description，some divergencies can still
be found that bear witness to certain local and
historical conditions. Nevertheless the execution of
the disciples is more artistically exuberant. Not
only do the different expressions of mourning (due
to the individual development of bodhisattvas,
arhats, gods, men，etc.) reveal the highest of
artistic skill，but the various costumes of kings,
princes, noblemen，and commoners gathered to mourn
the Buddha's passing away also provide us with clues
to the customs of different periods and regions.
Thus they are a valuable source of information on
social history. |
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| ISSN | 10177132 (P) |
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| Dynasty | 宋代 |
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| Regions | 新彊(拜城克孜爾石窟,吐魯番伯孜克里克石窟); 甘肅(敦煌莫高窟); 四川(安岳臥佛院) |
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| Hits | 1412 |
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| Created date | 1998.07.22
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| Modified date | 2017.06.15 |
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