“天福之面”的图像与信仰——尼泊尔佛教美术的考察与研究

On Kirtimukha Image and Cult:An Investigation of Buddhist Arts in Nepal

"天福之面"(kritimukha)与龙王、摩羯的图像组合,作为龛室造像、陀兰那、金刚宝座的装饰图像,在西藏、印度佛教艺术普遍存在,特别在尼泊尔的尼族(Newari)艺术中尤为流行,这类龛室造像由此而被学术界认为是尼泊尔佛教艺术民族化的表现。另一方面,从佛教造像的变革来看,随着曼陀罗宇宙信仰的形成,佛教艺术向密宗(Tantric Buddhism)演进,"天福之面"图像因其具有庇护的能力和功用而成为坛场的重要组成。密宗的发展是印度波罗(Pāla)艺术的巨大成就。因此,以"天福之面"图像为源点的考察,对理清晚期佛教与印度教艺术的关系具有重要意义,同时,也使得波罗艺术对尼泊尔、中国西藏的影响变得逐渐清晰起来。

The image of Kritimukha, along with Naga and Makara is ubiquitous in Tibetan and Indian Buddhist arts, which is particularly popular among Newari arts in Nepal as the decorative images in niches, toranas, and diamond thrones. These kinds of niche were considered as the manifestation of nationalized Nepali Buddhist arts by scholars. With the inclination of Buddhist arts towards Tantric Buddhism, Kritimukha becomes the important component of Man- dala for its divine power and blessing function. The development of Tantric Buddhism is a great achievement in Indian Pala arts. Therefore, it is of great significance to clear up the relationship between the late Buddhism and Hindu arts, as well to define the influence of Pala arts on Nepal and Tibet in China from the study of Kritimukha image.