摘要
藏传佛教美术中的多闻子图像是一个丰富的图像系统,其形成、演化复杂。夏鲁寺现存44个建筑空间中有多处出现多闻子图像,不同建筑空间的多闻子像特征也不尽相同。本文以其他地区的多闻子图像为参考,分析此类图像特征之间的差异,对多闻子图像的演变及其在不同佛教地区的传播作一探讨。
The image of rnam-tos-sras is an iconographical system with substantiate variations in Tibetan Buddhist art.In addition,its formation and evolution are extremely complex.Many images of rnam-tos-sras with varied features still exist inside the compartments of Shalu monastery.This paper is trying to analyze images of rnam-tos-sras from Shalu in comparison to others derived from different areas had been in order to shed lights on the variations among them.Comparative study illustrates the evolutional trajectory of the image,and how it＇s transportation in different areas influenced by Buddhism.Also,the religious belief of rnam-tos-sras in Shalu monastery and its historical background will be discussed in this article.
出处
《考古与文物》
CSSCI
北大核心
2011年第3期92-96,2,共5页
Archaeology and Cultural Relics
关键词
藏传佛教美术
夏鲁寺
多闻子
图像
信仰
Tibetan Buddhist art Shalu Monastery Mam-tos-sras Iconography Belief
