龟兹石窟壁画布局反映的小乘说一切有部佛教思想  

The Wall Paintings Layout Reflects That the Idea of Sarvastivadin of Hinayana Buddhism in Kucha Grottoes

作　　者：李瑞哲[1] Li Ruizhe(Northwest University)

机构地区：[1]西北大学

出　　处：《丝绸之路研究集刊》2021年第1期153-183,472,共32页Journal of the Silk Road Studies

摘　　要：龟兹石窟壁画主要集中在中心柱窟、方形窟与大像窟内,而以中心柱窟最具代表性,以本生(jataka)、因缘(nidana)、譬喻(avadana)和佛传(The Life of the Buddha)故事画等形式加以表现,壁画题材主要表现小乘佛教(Hinayana)"说一切有部"(Sarvastivadin)的思想内容。马世长等学者对龟兹石窟主室券顶与后室壁画内容进行了分类研究。1法国学者勒愕玛(Emmanuelle Lesbre)注意到了龟兹中心柱石窟券顶上的壁画为混合题材。The main content of wall paintings in Kucha grottoes was to around that Sakyamuni as the center depicted,It’s emphasizing the main idea Sarvastivadin of Hīnayana focus on"the only ritual Sakyamuni Buddha",Maitreya occupies a certain position in the belief of Kucha,and it is an inherited relationship with sakyamuni.The wall paintings use of Jataka,nidama,and avadana as well as other popular folk religious stories,it reflected the important Buddhist deeds associated with Sakyamuni,and it reflected the Buddhist thought by way of"samsara spiritual practice".Many wall paintings expressed Sakyamuni pujana|Buddha of the past"in his past time,and reflected the difficulties of the process of the from Bodhisattvto to Buddha and the Buddha in three asamkhya only in the past to supported the glorious deeds of Buddhism.The content of wall paintings in Kucha reflects the thought of Hinayana’s three generations(past,present,and future)of Sarvastivadin,It is believed that all Dharma doctrines exist in the past,present,and future at the same time,and these Dharma doctrines are mutually cause and effect each other,the image of Sakyamuni is particularly prominent in the statue paintings.

关 键 词：说一切有部 中心柱窟 小乘佛教 大像窟 龟兹石窟壁画 佛教思想 券顶 后室 

分 类 号：B948[哲学宗教—宗教学] K86[历史地理—考古学及博物馆学]