The bibliographic record is provided by 李玉珉老師.
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從釋迦三尊到華嚴三聖的圖像轉變看大乘菩薩思想的發展=The key-point for development of elementary teachings of the Mahayana school: The transition of the formation of the three honored ones to the three Huayan saints |
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| Author |
殷光明 (著)=Yi, Guang-ming (au.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.3 (總號=n.121) |
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| Date | 2010.06 |
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| Pages | 1 - 10 + 125 - 126 |
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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 | 作者為敦煌研究院研究員。
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| Keyword | 釋迦三尊=Shakyamuni with Manjushri and Samantabhadra; 華嚴三聖=Vairochana in the center with Samantabhadra and Manjushri; 圖像轉變=The Transition of the formation; 大乘菩薩思想的發展=The Development of elementary teachings of Mahayana school |
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| Abstract | 隨著大乘菩薩思想在我國的發展,犍陀羅時期作為主流題材的釋迦與彌勒、觀音組合的三尊像,發展成為盧舍那(釋迦)與文殊、普賢組合的華嚴三圣像。這一造像題材的發展、變化,既有經典義理的主導,也有一定時期佛教思潮和流派的影響,還有佛教圖像藝術自身的演變與發展,作者對此作了深入探討。
Following the rapidly development of Mahayana school in China,the motif of Shakyamuni,Maitreya and Avolokitesvara as a triplet repeatedly appeared in Ajanta Caves has changed into the three honored ones in Huayan School:Vairochana(Shakyamuni) with Manjushri and Samantabhadra.This figurative development in Chinese Buddhism were not only supported by the doctrines of Buddhism but also a prevailing trend of thought and school of Buddist in times and Buddhist art itself development as well.This article is going to go further to discussion. |
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| Table of contents | 一、釋迦三尊像的早期形式 2
二、彌勒、觀音從釋迦三尊中的分離 4
三、釋迦與文殊普賢組合的三尊像 5
四、華嚴三聖像的義理與圖像 7
五、結語 9
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| ISSN | 10004106 (P) |
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| Dynasty | 宋代 |
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| Regions | 中國 |
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| Hits | 690 |
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| Created date | 2013.08.13 |
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| Modified date | 2022.03.11 |
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