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“Intrusive Art” at Ajaṇṭā in the Late Middle Period: The Case of Bhadrāsana Buddhas |
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著者 |
Revire, Nicolas (著)
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掲載誌 |
Religions
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巻号 | v.13 n.9 |
出版年月日 | 2022.09 |
ページ | 23 |
出版者 | MDIP |
出版サイト |
https://www.mdpi.com/
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出版地 | Basel, Switzerland [巴塞爾, 瑞士] |
資料の種類 | 期刊論文=Journal Article |
言語 | 英文=English |
ノート | 1. Author Affiliation: Thammasat University.
2. Religions 2022, 13(9), 771. |
キーワード | Ajaṇṭā; bhadrāsana; Buddhist art and iconography; intrusive art; Mahāyāna; western Deccan caves |
抄録 | Following the apparent chaos that ensued at Ajaṇṭā during the so-called “period of disruption” in the wake of King Hariṣeṇa’s death (ca. 478–480 CE), local monks and residents in the caves continued to sponsor the donation of what we term “intrusive” images after the late Walter Spink. These new donations consisted of hundreds of Buddha images, a few of which retain today painted or incised dedicatory inscriptions in Sanskrit. Many of these images represent the Buddha preaching and seated in the “auspicious pose” (bhadrāsana) on the conventional lion throne with his legs down. In this article, the author focuses on the images accompanied by inscriptions since they provide a better understanding of the reuse of consecrated caves, and of the nature of this new and brief iconographic development implemented by local Buddhist residents. The sudden appearance of Bhadrāsana Buddhas seems indeed to correlate with a rise to prevalence of Mahāyāna Buddhist practices at Ajaṇṭā during the late Middle Period. |
目次 | Abstract 1 Keywords 1 1. Introduction 1 2. Introducing Ajaṇṭā 2 3. “Intrusive” Images at Ajaṇṭā 3 3.1. Cave 2 4 3.2. Upper Cave 6 5 3.3. Cave 7 5 3.4. Cave 9 5 3.5. Cave 10 7 3.6. Cave 11 9 3.7. Cave 19 10 3.8. Cave 22 11 3.9. Cave 26 15 4. Summary and Discussion: The Rise of the Mahāyāna? 17 Abbreviations 20 Notes 20 References 21 |
ISSN | 20771444 (E) |
DOI | 10.3390/rel13090771 |
ヒット数 | 150 |
作成日 | 2023.09.28 |
更新日期 | 2023.09.28 |
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