天门·天宫·兜率天宫——敦煌第275窟弥勒天宫图像的来源  

Heavenly Gate, Heavenly Palace, and Tusita Heaven——On the Iconographical Origin of Maitreya's Tusita Heaven in Mogao Cave 275

作　　者：何志国[1] 

机构地区：[1]华东师范大学艺术研究所,上海200333

出　　处：《敦煌研究》2016年第1期1-11,共11页Dunhuang Research

基　　金：国家社科基金重大项目中印佛教美术源流研究(14ZDB058);上海市教委2012年度科研创新重点项目(12ZS037)

摘　　要：四川、陕北、河西本土汉晋以西王母为主神的天门图像、长江流域汉晋佛像和犍陀罗弥勒天宫等,促成了敦煌第275窟北凉弥勒天宫图像的出现,在敦煌北魏洞窟流行并影响云冈。中土早期弥勒天宫图像的形成是犍陀罗佛像与汉地西王母神灵信仰传统的契合,也是佛教艺术中国本土化的早期例证。The iconography of the Heavenly Gate as the abode of the Queen Mother of the West from the Han and Jin style in Sichuan, North Shaanxi, and Hexi regions, Buddhist images of the Han and Jin dynasties in the Yangtze River basin, and the Heavenly Palace of Maitreya in Gandhara together led to the creation of images portraying Maitreya＇s Tusita Heaven in Mogao Cave 275 of the Northern Liang dynasty. This new image was not only popular in the Northern Wei dynasty caves of Dunhuang, but also influenced the Yungang Grottoes. Early images of Maitreya＇ s Heavenly Palace in the Central Plains derived from the convergence of Gandharan Buddhist sculptures and Chinese belief in the Queen Mother of the West and present some early examples of the Sinicization of Buddhist art in China.

关 键 词：天门 汉晋佛像 敦煌第275窟阙形龛 弥勒天宫 

分 类 号：K879.21[历史地理—考古学及博物馆学]