摘要
隋唐以后,佛教经变盛行于寺院、石窟中,由于此期寺院壁画几乎没有留存于世,敦煌石窟保存下来的丰富经变显得弥足珍贵,也为探讨经变创作、组合及其中蕴藏的佛教思想,提供了重要的图像资料。近百年来,学术界对于敦煌石窟经变展开多角度、多层面的研究,在题材辨识、样式分析、断代分期乃至义理思想、文化交流等方面,都取得比较丰硕的学术成果。
The two sutra paintings of the Guanyin theme on the north and south walls of the 76 th Cave of Mogao Grotto,with their characteristic picture content and symmetrical combination,show the familiar concept of"noumenon、phenomenon and function" in the Buddhist community of Tang and Song Dynasties.On the basis of in-depth analysis of the two sutra paintings,this paper puts forward a new view on its naming.For understanding and interpreting the program and the idea of the image of buddist grotto,the category of "noumenon,phenomenon and function" cannot be regarded simply as a metaphysical abstract philosophy,and to a certain extent,it may also have the value and significance of the research methodology.
作者
于向东
YuXiangdong(Southeast University)
出处
《丝绸之路研究集刊》
2020年第1期129-139,477,共12页
Journal of the Silk Road Studies
基金
国家哲学社会科学基金项目“隋唐佛教图像与信仰研究”(15BZJ019)阶段性研究成果之一
关键词
敦煌石窟
经变
图像资料
文化交流
佛教思想
莫高窟
体相用
寺院壁画
Dunhuang Grottoes
Guanyin Bodhisattva
Combination of Sutra Paintings
Naming
"noumenon,phenomenon and function"
