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敦煌莫高窟第76窟八塔變佛傳圖像源流探討=A Study on the Source of Images of Buddha’s Life Story in the Eight-Pagoda Illustration in Mogao Cave 76
Author 陳清香 (著)=Chen, Qing-xiang (au.)
Source 敦煌研究=Dunhuang Research
Volumen.2 (總號=n.162)
Date2017
Pages9 - 21
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:中國文化大學史學研究所
Keyword佛傳故事=Buddha's life story; 八相成道=eight aspects of Buddha's life; 八塔變=eight-pagoda illustration; 波羅風格=Pala style; 笈多風格=Gupta style
Abstract 佛傳故事圖像是佛教美術史上最普及化的題材,而隨著佛教的流布,兩千年來亞洲南北各地,均留有不同選題與風格的佛傳。其中敦煌莫高窟第76窟八塔變佛傳圖像為宋代的作品,卻與傳統漢式的佛傳風格大異其趣。本文首先敘述佛傳在印度、中土的起源流傳和印度與中土八相成道圖像遺例在選題與風格的差距。其次討論莫高窟第76窟八塔變佛傳的選題與風格,從而追溯此圖像所蘊含的印度笈多、波羅風格以及吐蕃、中土的成分。

The images of Buddha's life story are the most popularized theme in Buddhist art history. With the spread of Buddhism, many images depicting the life of Buddha have appeared with different themes and styles, created in various regions in both north and south Asia over the past 2000 years. Among them, those in the eight-pagoda illustration in Mogao cave 76, dating back to the Song dynasty, are completely different from those of the traditional Chinese style. This paper first narrates the birth and dissemination of Buddhism in India and in China as well as the differences in theme and style between Indian and Chinese images of the eight-pagoda illustration, and then discusses the theme and style of the group in Mogao cave 76, concluding with a final connection to the Gupta, Pala, Tibetan, and Chinese styles implied in the illustration.
Table of contents一、前言 10
二、佛教藝術史上的佛傳圖像 10
(一)唐代以前的佛傳圖像 10
(二)唐代的絹畫佛傳圖像 11
(三)佛傳圖像史上有關四相成道與八相成道 12
(四)入宋以後的佛傳題材 13
三、莫高窟第76窟八塔變四幅佛傳壁畫試析 14
(一)第一塔佛誕圖 14
(二)第三塔初轉法輪圖 15
(三)第五塔祈園供養圖 16
(四)第七塔獼猴奉蜜圖 17
四、八塔變的創新風格溯源 18
(一)佛塔的外型圖像 18
(二)回溯笈多與波羅王朝的風格 19
(三)吐蕃時期風格的延續 20
1.頭光 20
2.服式 20
(1)通肩式 20
(2)偏袒右肩式 20
(3)短裳式 21
(四)漢式的線條用筆和圖文並茂的表現 21
五、結語 21
ISSN10004106 (P)
Hits439
Created date2020.08.25
Modified date2020.08.25



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