从支提拱到列龛:佛塔中国化的一个侧面  

From Chaitya arch to niche series:An aspect of the Sinicisation of Buddhist stupas

作　　者：陈晓露[1,2] Chen Xiaolu

机构地区：[1]中国人民大学历史学院 [2]中国人民大学“古文字与中华文明传承发展工程”协同攻关创新平台

出　　处：《西域研究》2025年第1期107-120,171,172,共16页The Western Regions Studies

基　　金：国家社科基金项目“新疆吐鲁番胜金店墓地考古发掘资料整理与研究”(项目批准号:22AKG008)的阶段性成果;全国考古人才振兴计划资助(项目编号:2024-268)。

摘　　要：最早的佛龛为尖楣圆拱形制,源自印度的支提拱。早期佛教艺术中用支提拱来表现建筑,并逐渐具有容纳神圣物的含义,但尚不是佛龛。犍陀罗艺术开始在拱下安置佛像,出现了真正的佛龛。多个佛龛横向或纵向列置,即为“列龛”,并逐渐发展出了科林斯龛柱、梯形龛楣形制等新特征,以连续、重复、分层的形式,被大量应用于装饰佛塔。在佛教中国化的重要物质载体——楼阁式佛塔中,分层列龛仍是主要特征之一,这表明佛像在佛塔中国化过程中具有代表宗教内涵核心的地位。The earliest Buddhist niche was in the shape of pointed arch,originating from the Chaitya arch of India.In early Buddhist art,the chaitya arch was used to represent architecture and gradually came to symbolise the emplacement of sacred objects,though it was not yet a niche.Gandhara art began placing Buddha statues under these arches,creating the first true Buddhist niches.When multiple niches were arranged horizontally or vertically,they formed a niche series,which gradually developed new features such as Corinthian niche columns and trapezoidal niche arches.Through designs of continuation,repetition,and layering,these features were extensively applied to decorate stupas.In the pagoda-style stupas-the significant material emblem of Buddhist Sinicisation,layered niche series remained to be one of characteristic features.This indicates that Buddha statues held a central place in representing the religious essence during the Sinicisation process of stupas.

关 键 词：支提拱 列龛 犍陀罗 楼阁式佛塔 云冈石窟 

分 类 号：K879.2[历史地理—考古学及博物馆学]