手印、表情及坐立姿势的关系对佛像修复的意义  

A Study of the Connection Between the Hand Gestures,Countenances,and Postures of Buddha Statues for Their Restoration

作　　者：刘振刚[1] 王玉芳[1,2] 

机构地区：[1]兰州大学敦煌学研究所,甘肃兰州730000 [2]西北师范大学美术学院,甘肃兰州730070

出　　处：《兰州大学学报（社会科学版）》2017年第1期48-58,共11页Journal of Lanzhou University（Social Sciences）

摘　　要：佛像是佛教造像的主体,在石窟寺造像中,主尊佛像很大程度上反映了该窟的造像思想。对于完整的佛像,客观描述其佛衣、艺术风格以及手印和动态等比较容易,一些残损了的佛像,其研究则需要参照同时期完整的佛教造像、佛教流派及艺术的时代风格等图素,必要时要对其进行修复,而佛像的手印、表情及坐立姿势等动态之间的关系,对修复、制作佛像和研究佛像风格特征提供了理论依据。Statue is the main form of Buddha image. The major statue in a grotto usually indicates the ratio- nale of all the statues. It is not so difficult to objectively describe the wearing, the artistic style, hand gesture and the posture of a Buddha statue in good condition. Buddha statues that have been damaged need to be restored and the study of them has to be conducted in reference to statues in good condition, Buddhist schools, and the artistic style of the particular times. Knowledge of the connection between the hand gestures, countenances, and postures of the statues provides theoretical support for the restoration, making and study of Buddha statues.

关 键 词：佛像 手印 表情 坐立姿势 佛像修复 犍陀罗 汉地 

分 类 号：K879[历史地理—考古学及博物馆学]