从克孜尔木佛谈西域早期佛像的域外渊源

On the Foreign Infl uence on the Early Statues in the West Region as Seen from the Qizil Wooden Buddhist Statues

克孜尔石窟以壁画闻名,而佛像很少,留存至今的克孜尔佛像多为五六世纪时期的,明显采取了笈多造像风格。以装饰性衣纹著称的笈多佛像,兴起于新德里东南的秣菟罗地区,然后向西北传播到中亚,产生了巴米扬等重要造像,再往前影响了新疆地区的佛像艺术。当是之时,僧侣往来于中印之间的路线,多取西线,出西域向西,经巴米扬折变向东途经犍陀罗故地,进入印度本土。这种交通路线与造像风格的传播之路是吻合的。然而,许多学者受到西方学者强调犍陀罗的影响,认为新疆佛像的风格特征多来自犍陀罗,事实上,以克孜尔等地为例的造像,明显与犍陀罗无关,由此引出了如何重新评价犍陀罗影响中国的重要问题。

The Qizil Grottos are well-known for their murals,despite their limited number of statues of Buddha.The extant statues mostly date back to the 5th and the 6th centuries,with apparent Gupta statue style.The Gupta statues,known for their decorative dress patterns,originated in the Mathura region southeast of New Delhi and spread to Central Asia in the northwest where it led to such important works as the Bamiyan statues.It further spread to Xinjiang and exerted inflfl uence on the statue-making art of that region.At that time,monks traveling between China and India mostly took the west route,reaching India via Bamiyan and Gandhara.This route coincides with the route of the spread of statue style.However,many scholars were inflfl uenced by the views of western scholars and emphasized the inflfl uence of Gandhara by proposing that the stylistic features of the Buddhist statues in Xinjiang mostly come from Gandhara.In fact,such statues as represented by those in Qizil have no apparent connection with Gandhara.This leads to the important issue of how to reappreciate the inflfl uence of Gandhara on China.