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本文以2006年洛阳出土景教经幢顶部两组天神十字架图像为研究对象,探讨唐代入华景教的本土化问题。通过与西安景教碑额图像、高昌景教壁画及敦煌残经绢画等同时代景教图像相比较,作者认为洛阳经幢图像在主题、结构和人物表现手法上有其独特性。论文借助“图像证史”的方法,探讨该组图像的文化渊源,通过早期基督教艺术中的天使形象与印度佛教飞天形象的比较,认为就其图像外形而言,无疑更接近本土佛教之飞天,而非西域基督教之天使;然而,在华夏基督教徒的心目中,该等图像则是景教之天使。
In this paper, the images of the cross of the gods at the top of Jingjing Jinglun unearthed in 2006 are taken as the research object, and the localization of the Nestorianism in China in the Tang Dynasty is discussed. By comparing the images of the landmarks in Xi’an, the Gaochangjing murals and the handicrafts of Dunhuang handicrafts, the author thinks that Luoyang Jingzhu images have their own uniqueness in the theme, structure and characters. With the help of the method of “Image History”, this paper explores the cultural origins of this group of images. By comparing the images of the angels in the early Christian art with those of the Indian Buddhism, it is argued that in terms of its image appearance, it is undoubtedly closer to native Buddhism Rather than the Western Christian angels; however, in the eyes of Huaxia Christians, these images are angels of Nestorianism.