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古印度佛教美术的发展,固然有佛教义理的支持,但同时本土信仰和印度教也有着密切的关系。中印度佛教美术兴起于阿育王时代,以窣堵波建筑及其附丽浮雕为主体。窣堵波原为印度王侯身后的纪念性建筑,原非佛教起源,也被耆那教使用;窣堵波所附浮雕图像的基本母题,如装饰纹样、药叉、那伽龙王等都是印度的土著信仰;即使是图像中的佛教故事,也往往是从世俗故事被佛教化改造的结果。释迦诞生中的佛母形象,源于巴尔胡特的莎罗班吉卡,是在莎罗班吉卡信仰兴盛之后才出现的,包含这一情节的四相图始于笈多盛世的鹿野苑。秣菟罗地区出现了最早的佛像,加尔各答藏坐佛即其一,与特定的佛传场景和情节无关,部分图像细节所反映的仍然是印度的神灵信仰。原始佛教没有神灵信仰,也没有建立自身的神祇系统。古印度的佛教美术是在印度本土神灵信仰和印度教的大环境中逐步发展起来的并始终受其强烈影响。
The development of ancient Indian Buddhist art, although supported by the Buddhist doctrines, but also has a close relationship between native beliefs and Hinduism. The Buddhist arts in India and India rose in Ashoka’s era, with the blocking of wave buildings and their reliefs as the main part.窣 plug wave formerly behind the Indian princes monumental architecture, the original non-Buddhist origin, but also by the Jain use; 窣 plug the basic motifs embossed images, such as decorative patterns, drug fork, that the Dragon King is India Indigenous beliefs; even the Buddhist stories in the images are often the result of the Buddhist transformation of secular stories. Buddha’s image in the birth of Sakyamuna, originated from Baluchu’s Sara Benjica, emerged only after Shalubanjika’s faith flourished. The four-phase diagram that begins with this episode begins with Lu Yeh . The earliest Buddhist statues appeared in the Miluo area. The sitting Buddha in Calcutta, one of them, has nothing to do with the specific scenes and circumstances of the Buddha. Some of the details of the images still reflect the divine beliefs of India. Primitive Buddhism has no divine faith, nor does it establish its own system of divine. Ancient Indian Buddhist art has evolved and has been strongly influenced by the local Indian spiritual beliefs and Hindu environments.