摘要
印度在笈多朝时期 ,佛教艺术开始追求超越佛陀自身永恒的图像 ,称作“宇宙主的释迦像” ,是由初说法、舍卫城神变 (千佛化现 )、大光明神变发展而来的 ,传人中亚和中国 (敦煌 )再经发展 ,敦煌第 42 8窟一般称作卢舍那的佛像 ,应为这种宇宙主的释迦像。
From the time began at The Gupta Dynasty (320 535) in India,Buddhist art began to having conceptual frame of a half historic a half superiority being embodied as in the image of Sakyamuni,the Buddha of universe.The development of the image probably derived from legend of the first Sermon of the master after his awakening,and the miracle transformation in Srvasti with appearance of thousand Buddhas,the miracle transformation of the God of Great Light.Those processes let to development of mature form of the Buddha of the Universe.Later,the image were introduced to China via the Central Asia until reaching to Dunhuang.The image of the Universe Buddha continuing to taking shape by adding new elements to the form.The Buddha Image inside cave 285 at Mogao Grottoes,generally known as Vairocana,should belong to the image of Sakyamuni:the Buddha of the Universe.
出处
《敦煌研究》
CSSCI
北大核心
2003年第1期25-32,共8页
Dunhuang Research