下生经变的视觉独立——弥勒经变图像在元代山西地区的发展  

Visual Independence of the Sutra Illustrations of Birth in This World from a Higher World:The Development of Maitreya Sutra Illustrations in Shanxi During the Yuan Dynasty

作　　者：赵晓斐 李雅君[1] Zhao Xiaofei;Li Yajun(Academy of Fine Arts,Shanxi University)

机构地区：[1]山西大学美术学院

出　　处：《美术》2025年第2期110-117,共8页Art Magazine

摘　　要：弥勒图像的演变是弥勒信仰的外化,随着弥勒下生信仰的兴起,到了西夏时期,下生经变图像逐渐走向独立。元代,弥勒经变图像受到了佛教版画构图的影响,弥勒经变图像的空间处理手法逐渐转向平面化,且开始出现大量的下生经变,图像内容强化了剃度的场面。另外,山西地区的弥勒经变壁画中新出现的迦陵频伽图像,作为弥陀信仰与上生信仰融合的产物,成为弥勒经变图像中下生信仰视觉独立的重要例证。The change of Maitreya images was the externalization of beliefs in Maitreya.With the rise of beliefs in Maitreya's birth in this world from a higher world,sutra illustrations with this theme gradually became an independent genre during the Western Xia.In the Yuan Dynasty,such illustrations became more plane in space under the influence of the composition of Buddhist prints,and a large number of illustrations that depicted the birth of Maitreya in this world emerged,with an emphasis on the scenes of tonsure.Besides,the new Kalavinka images in Maitreya sutra murals in Shanxi,as a product of the fusion of beliefs in Amita Buddha and in ascension,were important examples of the visual independence of beliefs in Maitreya's birth in this world.

关 键 词：弥勒 壁画 上生经变 下生经变 迦陵频伽 

分 类 号：K247[历史地理—历史学] K879.41[历史地理—中国史]