摘要
阿玛拉瓦蒂作为古印度佛塔崇拜的中心,长期流行附属佛塔的浮雕佛像制作。但在佛教发展晚期的公元3世纪末,这里突然创制了独立佛像,迅速取代了原先的佛塔崇拜,并广泛影响南亚、东南亚地区。阿玛拉瓦蒂独立佛像的起源、发展和传播过程极不寻常,独立造像的源头不可能是阿玛拉瓦蒂。阿玛拉瓦蒂独立佛像在海路传播佛教美术中的地位和作用值得重新评估。
As a center of Buddhist stupa worship site in ancient India,carving Buddha images on narrative reliefs had been popular for a long time in Amaravati. However, a new type of free-standing Buddha image was created suddenly in the late Buddhist times in Amaravati, replaced the stupa-worship towards the end of the third century A.D., and influcened South Asia and Southeast Asiadeeply. Since Amaravati free-standing Buddha image was unusual in the process of origin, development and transportation,it could be hardly originated in Amaravati. The role of Amaravati buddha in the transportation on Marin Silk Route and Buddhist art history should be reestimated.
出处
《南京艺术学院学报(美术与设计)》
CSSCI
北大核心
2017年第3期89-93,共5页
Journal of Nanjing Arts Institute:Fine Arts & Design
基金
2015年度国家社会科学基金艺术学青年项目<中印佛像海上丝路传播研究>(批准号15CF140)阶段性成果
关键词
独立佛像
浮雕佛像
阿玛拉瓦蒂
僧伽罗
海路传播
free-standing Buddha image
Buddha image on relief
Amaravati
Singhala
transportation on Marine Silk Route