摘要
作为中古佛教绘画的主要题材,净土变相历来为学界所重视,然而对于净土变相的图像渊源问题,至今尚未取得共识。归纳起来,可分为"外来派"和"本土派"两个基本学术派别。"外来派"可进一步内分为印度说、犍陀罗说和粟特说。在"本土派"的主张中,现存最古老的文献为东晋高僧支道林(314~366年)之《阿弥陀佛像赞(并序)》,最早的作品实例为麦积山第127窟(6世纪30年代)。针对敦煌的净土变相,则有四川说(南朝说)、北齐说和汉画说三种观点。
As the main theme of medieval China Buddhist painting, the image of the Pure Land has always been valued by the academic circles. However, there has been no consensus on the origin of the Pure Land image. To sum up, it can be divided into two basic academic factions, namely, the ＂foreign school＂ and the ＂local school＂. The ＂foreign school＂ can be further divided into three doctrines which are India, Gandhara and Sogdian. As for the ＂local school＂, the earliest document is Anthem of the Image of Amitabha（and Preface） written by monk Zhi Daolin（314-366） in Eastern Jin Dynasty, and the earliest artwork is the Cave 127 in the Maijishan Grottoes（530 s）. According to the Dunhuang Pure Land murals, it can be divided into three viewpoints which are Sichuan（Southern Dynasties）, the Northern Qi Dynasty and the Han painting.
出处
《艺术探索》
2018年第3期32-40,共9页
Arts Exploration
关键词
净土变相
隋唐艺术
敦煌壁画
The Pure Land Image
Sui and Tang Dynasties Art
Dunhuang Murals
