三件新出犍陀罗浮雕造像述论  

On Three Newly Discovered Gandharan Reliefs

作　　者：李静杰[1] 何平[2] LI Jingjie;HE Ping(Department of Art History,TsinghuaUniversity,Beijing 100084;Pakistan Culture Dissemination Center,TsinghuaUniversity,Beijing 100084)

机构地区：[1]清华大学艺术史论系 [2]清华大学巴基斯坦文化传播研究中心,北京100084

出　　处：《敦煌研究》2021年第5期34-47,共14页Dunhuang Research

基　　金：2021年度国家社科基金宗教学项目“中国佛教图像与思想研究”(21BZJ003)。

摘　　要：新近面世的涅槃与弥勒组合浮雕、舍卫城神变浮雕、佛塔假门浮雕,在几个重要问题点上改变了人们以往对犍陀罗文化的认知。证实涅槃与弥勒图像组合及其象征的末法与传法思想,以及双神变与大神变合成的舍卫城神变图像率先出现在犍陀罗中心地区,佛塔假门则是中印度与西北印度佛教文化的巧妙结合。进而反映了吸收中印度、希腊罗马文化因素,并影响中亚、西域文化的情况。The recently discovered three reliefs respectively with the themes, Nirvana and Maitreya, Prātihārya in Sravasti,and false gate of a stupa, have changed people’s previous understanding of Gandhara culture in several important aspects. It is confirmed that the image combination of Nirvana and Maitreya and their symbolic ideas of the decline and inheritance of dharma, as well as the yamaka-prātihārya and the mahāprātihārya which formed the prātihārya in Sravastifirst appeared in the central area of Gandhara, and the false gate of a stupa is a clever combination of Buddhist culture from central India and northwest India.Thus it reflects how it absorbed the cultural elementsfrom central India, Greece and Rome, and influenced the culture of Central Asia and the Western Regions.

关 键 词：犍陀罗 涅槃与弥勒组合浮雕 舍卫城神变浮雕 佛塔假门浮雕 

分 类 号：J19[艺术—艺术理论]