摘要
西夏黑水城出土的文献史料中,可发现为数不少华严造像资料,在中国佛教美术史上独具特色,但相关研究甚少。经过本文探究,得知此时期华严教法与密法融会,使得华严教主手印造像,由智拳印转换为毗卢印,也开创出华严佛会中配置华严十菩萨的新组合。至于,《入法界品》所产生的经变,在当时辽金与宋土皆相当推崇,但地域差异着重思维不同,也发展出不同经变模式。
In the historical documents unearthed from Xixia Blackwater City,many Huayan imagery materials can be found,which have unique and important characteristics in the history of Chinese Buddhist art,but little research has been done.The paper argues that the Mudrāof the Huayan masters were converted from Bodhyangi Mudrāto Vairocana Mudrābecause a merger between Huayan and Esotericis.It also created a new combination of Huayan Ten Bodhisattvas in the Huayan Buddhist Association.As for the changes in the"Entering the Dharma Realm",it was praised by Liao,Jin and Song Dynasty,but the regional differences focused on different thinking,so different modes of change were developed.
作者
陈俊吉
Chen junji(Xiamen Academy of Arts and design,Fuzhou University,Xiamen Fujian,China,361024)
出处
《艺术生活》
2019年第3期39-46,共8页
Art & Life
基金
福州大学科研项目任务“善财童子造像研究”阶段性成果,项目编号XRC201907福建省教育厅中青年教师教育科研项目社科类“明代佛教水陆画中福建地方神祇造像探究”成果之一,项目编号JAS180010。
关键词
毗卢遮那佛
华严教主
智拳印
毗卢印
七处九会
Vairocana
Huayan teaches the Lord
Bodhyangi Mudrā
Vairocana Mudrā
Seven places nine association
