印巴犍陀罗艺术研究的三个阶段  

Three Phases of Gandharan Art Studies in India and Pakistan

作　　者：蔡枫[1,2] 

机构地区：[1]北京大学南亚学系 [2]深圳大学印度研究中心

出　　处：《南亚研究》2012年第1期143-155,共13页South Asian Studies

基　　金：国家社科基金资助项目<犍陀罗雕刻艺术与民间文学关系考证>(编号为09BWW025)阶段性成果;深圳大学人文社会科学基金资助项目<犍陀罗艺术研究学术史>(编号为10QNCG08)阶段性成果

摘　　要：印巴犍陀罗艺术的研究经历了三个阶段。第一阶段始自19世纪中叶,终于印巴分治。当时,西方学者主导犍陀罗地区的考古和研究,研究的热点在于剖析犍陀罗艺术中的西方文化因素。印度学者的犍陀罗艺术研究在殖民主义话语权的笼罩下,处于相对"失语"的状态。第二阶段为印巴分治后的前三十年。巴基斯坦学者拥有考古优先权,犍陀罗艺术的考古和研究崭露头角。第三阶段始自20世纪80年代。印巴学者力图摆脱西方的学术窠臼,回归印度传统文化视角,犍陀罗艺术研究渐入繁盛期。India and Pakistan have witnessed three phases of Gandharan art studies. From the middle of the 19th century to the partition of India, local scholars and archaeologists had been deprived of the priority of excavation in Gandhara and research in Gandharan art. Western scholars and archaeologists, while dominating the studies oi Gandharan art, focused on Western cultural elements in the art and judged it from the measure of Greek, Roman or Early Christian art. In the post - independence period, Pakistan possessed the priority of excavation in Gandhara and the studies of Gandhran art. During the second phase from 1947 to 1980s, some Pakistani scholars emphasized the importance of Gandharan studies and began to carry out some research projects. Since 1980s, studies of Gandharan art have become more and more prosperous in the two countries. During this phase, Indian and Pakistani scholars have tried to construct their own new system of Gandharan studies in local cultural and traditional Indian perspectives.

关 键 词：犍陀罗艺术 研究 印度 巴基斯坦 

分 类 号：K883.5[历史地理—考古学及博物馆学]