莲花纹样的跨文化交融及其内涵——汉晋莲花纹样来源问题蠡测  

The Cross Cultural Integration and Connotation of Lotus Pattern--A study on the origin of lotus patterns in Han and Jin Dynasties

作　　者：李方芳 Li Fangfang

机构地区：[1]兰州大学敦煌学研究所,甘肃兰州730030

出　　处：《南京艺术学院学报（美术与设计）》2024年第3期67-73,I0003,共8页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：国家社会科学基金重大招标项目《海外藏回鹘文献整理与研究》(20&ZD211)阶段性研究成果。

摘　　要：中国传统莲花纹样始于商周,至战国秦汉时期,混入到四叶纹到柿蒂纹的发展序列中,运用范围渐广。而从汉晋开始,出现了印度佛教文明影响下的“莲花礼佛”“莲花化生”乃至“莲花坐佛”等新兴莲花纹样,且主要以中国传统莲花的绘制风格来描绘佛教莲花形象,反映出中国传统文化与印度佛教文明之间的交融与发展。The traditional Chinese lotus pattern began in the Shang and Zhou Dynasties,and during the Warring States,Qin and Han Dynasties,it blended into the development sequence of the four leaf pattern to the persimmon stem pattern,and its application scope gradually expanded.Starting from the Han and Jin dynasties,emerging lotus patterns such as“Lotus Ritual to Buddha,”“Lotus Transformation,”and even“Lotus with a Sitting Buddha”emerged under the influence of Indian Buddhist civilization,mainly depicting Buddhist lotus images in the style of traditional Chinese lotus painting,reflecting the integration and development between Chinese traditional culture and Indian Buddhist civilization.

关 键 词：莲花纹 传统纹样 宗教纹样 文明交融 跨文化 

分 类 号：J522.3[艺术—艺术设计]