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作 者:马诚[1] 雷启兴 Ma Cheng;Lei Qixing
机构地区:[1]新疆师范大学美术学院,新疆乌鲁木齐830000 [2]上海工艺美术职业学院,上海200000
出 处:《南京艺术学院学报(美术与设计)》2021年第5期107-111,I0011,共6页Journal of Nanjing Arts Institute:Fine Arts & Design
基 金:2019年教育部人文社会科学研究青年基金项目“新疆传统建筑研究”(19YJC760037)阶段性成果;上海工艺美术职业学院科研创新项目“龟兹石窟佛传图像研究”(2019010020205)阶段性研究成果。
摘 要:学术界质疑克孜尔“中心柱窟”“塔柱”的称谓是否正确,对于其形制源流,未有清晰解释。中心柱窟正壁、主室及后室甬道券顶绘制山形,洞窟内构造出须弥山。文章追溯印度、犍陀罗、中亚石窟形制,除右绕礼拜外,在中亚形成佛塔和涅槃的组合,暗示出中心柱窟具有“山窟”和“塔柱”两重意义,这也是克孜尔中心柱窟的特别之处。The academic circles have questioned the correctness of the title of"central pillar cave"in Kizil.There is no clear explanation for the origin and significance of its shape and structure.The main wall of central pillar cave in Kizil actually shows"mountain shape".The theme of the main wall of the central pillar Grottoes is the"interpretation of the Grottoes by the emperor"which has been confirmed by the academic circles.The internal structure of the Grottoes is the mountain shape,which is actually the sumeru mountain,the center of the Buddhist universe.This paper traces back to the early Buddhist image composition,the shape of India,Gandhara and Central Asia grottoes.In addition to the influence of traditional right circumcision,the combination of Buddha pagoda and nirvana formed in Central Asia from Gandhara's germination indicates that Kizil central pillar Grottoes have two attributes:the worship of"Mountain Grottoes"and"tower pillars",which is also the special feature of Kizil central pillar grottoes.
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