中国早期佛教造像“说法印”样式的演变

Evolution of Pattern of “Mudra of Teaching” in Buddhist Sculptures in Early China

本文通过梳理中国早期佛教造像中"说法印"样式,对具体实例进行分析,指出了目前研究的误区,总结其样式演变的规律。在印度的影响下,中国早期"说法印"多与交脚坐姿有关,但是数量较少。"说法佛"造像,一般以左手执衣角,右手上举胸前作无畏印为主。但这种手势并不是严格意义上的"说法印"。至7世纪以后,克孜尔石窟和敦煌石窟壁画中的佛像出现手势的变化,双手的手指弯曲,但并不接触。随后,壁画经变相中的主尊样式的手印,表现与萨尔纳特"双手互捻"的手势一致,成为后世典型的"说法印"。从"说法印"样式的演变,可以看出中国早期佛教造像本土化的趋势。这一过程,正是中国佛教艺术从古代印度汲取养分,并融入本民族的特征,将其不断发扬光大的过程。

The gesture of Dharmachakra-Mudra represented in the Buddha's frist preaching scene.This article analysis of specific examples,points out the erroneous zone in the academic circle,and summarizes the style evolution of the Dharmachakra-Mudra.In the early buddhist images,the Dharmachakra-Mudra generally for the left hand holding skirts,lift the right hand on the chest as Abhaya-Mudra.In the seventh century,the murals of Buddha at the Kizil grottoes and Dunhuang grottoes,we can see the change of the gestures which two hands fingers bend,but don't to touch.Subsequently,mural by disguised the main style of fingerprints,expression and Sarnath gesture,become the typical of future generations.This process which the localization of early buddhist images in China,it is the Chinese buddhist art from India,the western region to absorb nutrients,and into the national characteristics,continuously carry forward its path.