莫高窟交脚弥勒造像的考察——以北凉时期为中心  

An Investigation of the Cross-footed Maitreya Statues in Mogao Grottoes Centered on Beiliang Period

作　　者：庞跃雷[1] PANG Yuelei(Academy of Fine Art&Design,Northwest Normal University,Lanzhou,Gansu 730070)

机构地区：[1]西北师范大学美术学院,甘肃兰州730070

出　　处：《贵州大学学报（艺术版）》2020年第3期78-86,共9页Journal of Guizhou University Art Edition

基　　金：2018年度教育部人文社会科学青年基金项目“多元文化视域下敦煌石窟弥勒经变研究”(项目编号:18XJC760005)。

摘　　要：印度佛教经中亚传入敦煌,伴随着佛教东渐的过程,交脚样式的弥勒造像最早出现在敦煌地区的北凉石塔,随后也出现在莫高窟初期造像当中。莫高窟交脚弥勒造像全部集中于北朝时期,敦煌石窟的交脚造像吸收了印度、西域的造型特点,亦传承了汉晋以来的造像风格。文章从图像特征和造型风格角度探讨交脚弥勒像在莫高窟的发展与演变,追溯莫高窟交脚弥勒造像的源流,分析敦煌交脚弥勒的图像特点与造型风格。Indian Buddhism was introduced into Dunhuang through Central Asia.With the eastward transmission of Buddhism,the cross-footed Maitreya statues first appeared in the stone pagodas during Beiliang Period(397-460)and later in the early statues of Mogao Grottoes as well.The cross-footed Maitreya statues in Mogao Grottoes were all created in Northern Dynasties(439-581)that absorbed the modelling features of India and Xiyu(Western Countries)and inherited the statue style since Han and Jin Dynasties.This essay traces back to the origin of the cross-footed Maitreya and analyzes its image features and modelling style by discussing its development and evolution from the image feature and modelling style.

关 键 词：莫高窟 北凉 交脚弥勒 阙形龛 狮子座 

分 类 号：J19[艺术—艺术理论]