犍陀罗美术中的阿弥陀信仰  

Amitabha Faith in Gandharan Art

作　　者：宫治昭[1] 根敦阿斯尔(译) MIYAJI Akira;GENDUN Asier(Nagoya University,Nagoya 464-8601,Japan;Center of Buddhist Studies,Dunhuang Academy,Dunhuang 736200,Gansu)

机构地区：[1]名古屋大学,日本名古屋464-8601 [2]敦煌研究院佛学研究中心,甘肃敦煌736200

出　　处：《敦煌研究》2023年第4期36-57,共22页Dunhuang Research

摘　　要：概观犍陀罗美术与大乘佛教,费切尔列举的“舍卫城神变”场景中的8件犍陀罗雕像,与初期主要的大乘经典《大品般若经》《法华经》《华严经》《无量寿经》等中所说佛陀的“大光明(放光)神变”关系颇深。通过详细考察犍陀罗阿弥陀三尊像和犍陀罗莲花型大构图雕塑,阿弥陀佛信仰的源流可以追溯至犍陀罗时期,阿弥陀佛五十菩萨图的祖型可能是犍陀罗的莲池型与笈多王朝的“舍卫城神变”图像在中亚融合后形成的。A general review of Gandharan art and Mahayana Buddhism indicates that the eight Gandharan sculptures in the scenes of “Miracles at Sravasti” listed by Alfred Foucher are closely related to the event known as the “Maha-Pratiharya miracle”performed by the Buddha and mentioned in the main scriptures of early Mahayana Buddhism,including Pancavimsati-sahasrika-prajnaparamita,the Lotus Sutra,the Garland Sutra,and the Aparimitayur-sutra.By carefully examining sculptures of the“Three Holy Ones of Amitabha in Gandhara” and“large-scale Gandharan sculpture in the form of a lotus,”the author concludes that faith in Amitabha can be traced back to Gandharan civilization,while the Buddhist theme of “Amitabha Buddha and Fifty Bodhisattvas”was likely formed after the lotus motif of Gandharan art and images of the “Miracles at Sravasti” from the Gupta dynasty had disseminated throughout Central Asia.

关 键 词：犍陀罗美术 大乘佛教 阿弥陀佛信仰 东亚传播 

分 类 号：J196.2[艺术—艺术理论]