敦煌壁画中于阗白衣立佛瑞像源流研究  

The Origination and Development of Khotan White-clad Standing Buddha Images from Dunhuang Murals

作　　者：张小刚[1] 

机构地区：[1]敦煌研究院

出　　处：《创意设计源》2018年第1期21-30,共10页Idea & Design

基　　金：国家社会科学基金西部项目"敦煌石窟于阗图像研究"(项目编号:12XKG008);国家社会科学基金重大项目"敦煌与于阗:佛教艺术与物质文化的交互影响"(项目编号:13&ZD087)阶段性成果;人力资源和社会保障部"2014年留学人员科技活动项目择优资助"

摘　　要：在敦煌壁画中,于阗白衣立佛瑞像图题材丰富、数量众多,背光中布满化佛或者头上戴冠系带是其显著特征;在和田地区考古遗迹、石窟壁画中发掘的白衣立佛可推断为敦煌壁画中相关造像的原型;而这种背光中布满化佛造像样式,可能与舍卫城神变故事对佛教造像的影响有密切关系,在犍陀罗艺术中也有这种造像形式的原型。由此我们能够了解白衣立佛造像从印度到西域,再到敦煌的传播情况。Among various images of Dunhuang murals, there＇s a large number of Khotan white-clad standing Buddha images of various themes, featuring Buddha-covered background or crown on head and ribbon fastened. Khotan whiteclad standing Buddha images excavated from archaeological sites and grotto murals in Khotan could be presumed to be the prototype of relevant images found in Dunhuang murals. And the pattern of Buddha-covered background might be closely related to Sravasti stories＇ influence on Buddhist statue. The prototype of such statue pattern was also found in Gandhara Art. Thus we＇d be able to get an idea of how white-clad Buddha statue got to spread from India to the Western Regions and then to Dunhuang.

关 键 词：佛教美术 敦煌壁画 于阗白衣立佛瑞像 

分 类 号：J218.6[艺术—美术]