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大同云岡第5、6窟圖像構成分析

A Combinatorial Analysis of the Images in Caves 5 and 6 at the Yungang Grottoes

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【作者】 王友奎

【Author】 WANG Youkui;Editorial Department, Dunhuang Academy;School of Art & Design, University of Tsukuba;

【機構】 敦煌研究院編輯部筑波大學藝術學系

【摘要】 云岡石窟第5窟造像大體存在統一規劃。主體三世佛造像外,側壁佛龕多為釋迦佛、釋迦多寶佛、彌勒菩薩等尊像的排列組合,這一組合源于第7、8窟主室北壁,在第二期洞窟中成為填充壁面空間的流行元素。第6窟中兩種思想主題并存,其北壁下層龕內三佛像表述三世佛思想,而中心柱下層四面佛龕則以大乘成佛思想統攝周壁圖像。與此相適應,上層15尊立佛像可能表述供養、值遇諸佛意涵。

【Abstract】 Cave 5 at the Yungang Grottoes was created according to a generally integrated design. Apart from the central group of statues of Buddhas of the Past, Present, and Future, the Buddhist statues against the other walls are separated into groups respectively depicting Sakyamuni, Sakyamuni and Prabhutaratna, or Maitreya.These combinations of statues were originally a motif used in caves 7 and 8(placed against the north wall in the main chamber of both cave), and which became a popular theme used to cover the wall surfaces of Buddhist caves. In cave 6, the images of two sets of Buddhist ideas co-exist: the three Buddhist statues in the lower niche on the north wall represent the Buddhas of the Three Times, while those in the lower niches on the four sides of the central pillar embody the Buddhist thought of obtaining Buddhahood through devout belief in Mahayana dharma. This second theme integrates the ideas of 15 Buddhist caricatures surrounding the interior of the cave that represent reverential offering to, and subsequent communion with the Buddhas.

【基金】 國家留學基金資助
  • 【分類號】K879.22
  • 【下載頻次】330
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