7世纪前佛教梵天与帝释天形象之变——兼论邺城、龙门大螺髻像的身份问题  

The Transformation of the Images of Brahma and Indrah in Buddhism before the 7th Century-On the identity issues of the statues with large spiral buns in Ye City and Longmen

作　　者：费泳[1] Fei Yong

机构地区：[1]南京艺术学院美术学院,江苏南京210013

出　　处：《南京艺术学院学报（美术与设计）》2024年第5期125-136,I0002,共13页Journal of Nanjing University of The Arts:Fine Arts & Design

摘　　要：梵天、帝释天对印度佛教神祇图像系统的形成有着奠基的作用,传入中土后,特别是在7世纪以前,形象变化多样,经历了由女性菩萨形象的梵天、着铠甲的帝释天,四臂神形态的梵天、帝释天,到成对出现的大螺髻梵王,着交领大衣的梵天、帝释天,再到胁侍中双双着铠甲的梵天、帝释天等造型的变迁。最终在6世纪中后期的南朝,初步形成了成对的弟子、菩萨、天王胁侍主尊佛的组合造像模式,并深刻影响到海东和初唐造像的组合形式。文章即对这一阶段梵天、帝释天的形象演变脉络予以梳理和考证。Brahma and Indrah played a foundational role in the formation of the image system of Indian Buddhist deities.After their introduction to China,especially before the 7th century,their images underwent various changes,including Brahma in the form of a female bodhisattva,Indrah in armor,Brahma and Indrah in the form of four-arm gods,paired Brahma with large spiral buns,Brahma and Indrah in cross collared coats,and Brahma and Indrah in armor as attendants.In the mid to late 6th century of the Southern Dynasty,a combination of disciples,bodhisattvas,and heavenly kings serving as attendants to the main Buddha was initially formed,which deeply influenced the combination form of statues in Haidong and the early Tang Dynasty.This article tries to sort out and verify the evolution of the images of Brahma and Indrah during this stage.

关 键 词：梵天 帝释天 天王 螺髻梵王 

分 类 号：J19[艺术—艺术理论]