北朝佛传故事龙浴太子形象演变  

Evolution of the Image of the Nagas Bathing Siddhartha in the Buddhist Life Story of the Northern Dynasties

作　　者：刘连香[1] 

机构地区：[1]中央民族大学文博系,北京100081

出　　处：《敦煌研究》2014年第6期8-16,共9页Dunhuang Research

基　　金：教育部人文社会科学研究一般项目"北魏后期拓跋鲜卑民族融合研究--以出土墓志为中心"(10YJA850028)

摘　　要：佛传故事龙浴太子形象在北朝时期的西域、中原及北方佛教造像碑、石窟寺中比较常见,这是运用图像宣扬佛教的一种形式,具有一定的时代性和地域特点。从该图像中太子与龙的形象演变能够看出曾经受到犍陀罗艺术的影响,并逐渐与汉文化因素相融合。根据与龙浴太子形象并存的佛像主尊和其他佛像身份变化,体现出佛教信仰由小乘向大乘的转变,符合当时战乱频仍状况下人们希冀社会安定的心理需求。The image of the nagas spraying water over Siddhartha, a theme very common in the Western Regions, Central Plains, Buddhist cave temples and steles in north China during the Northern Dynasties, is a visual form intended to preach Buddhism, which exhibits characteristics of various times and regions. The development of the pictures of Siddhartha with the nagas suggests the images were first influenced by Gandharan art and gradually absorbed elements from traditional Chinese culture. The changes in the central Buddha and surrounding Buddhas and nagas spraying water over Siddhartha indicate a transition from Hinayana Buddhism to Mahayana. This change to Mahayana Buddhism seems consistent with the psychological needs of a time when the common people wished for social stability in the chaos of wars.

关 键 词：龙浴太子 演变 佛教传播 信仰需求 

分 类 号：B949[哲学宗教—宗教学]