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佛教作为异域宗教文化,两汉之际传入中国后可谓是蓬勃发展。与此同时佛教艺术也相应地在中国广泛传播,国内现存无数的早期佛教艺术,无非都是根据佛本行和本生故事,其中本生故事,是记录释迦牟尼的一生。“树下降生”作为佛传故事的主要内容之一,也是佛陀一生事迹的真正开始,在印度犍陀罗有大量的佛传故事。佛教传入中国后,在南北朝时期掀起一个高潮。北朝时期中原北方地区亦有大量的造像碑上刻有“树下诞生”佛传故事。相同的佛传故事在不同载体、不同地域呈现非常大的差异性。本文将主要讨论两者之间画面构图以及人物形象的区别,试图从图像志的角度去探讨北朝佛传故事中的本土化因素和外来因素及其原因。
As an exotic religious culture, Buddhism flourished after it was introduced to China. In the meantime, Buddhism art has also been widely spread in China. Numerous early Buddhist art in China is based solely on the stories of Buddhism and Benjamin, among them the story of Bunka is the record of the life of Sakyamuni. As one of the main contents of the story of the Buddha, it is also the true beginning of the life deeds of the Buddha. There are a lot of stories of Buddha in Gandhara in India. After Buddhism was introduced to China, a climax was set off during the Northern and Southern Dynasties. During the Northern Dynasties, there were also a large number of statues inscribed on the northern part of the Central Plains. The same Buddha stories in different carriers, different regions show a very big difference. This article will mainly discuss the differences between the composition of the picture and the characters in the two images, trying to explore the localization and external factors and their reasons from the perspective of imagery.