摘要
本文以呈现不同地域与时代的阿弥陀净土造型表现差异为目的,希望通过日本古代的作品和敦煌莫高窟壁画的不同说明两国阿弥陀净土的造型差异及其背后不同的净土观。日本的净土信仰将"欣求净土,厌离秽土"看作一种并不遥远的理想,持续地追求着。日本的净土图也正是这一追求的体现:净土就在身边。而敦煌以及中国的净土变却不表现阿弥陀如来、阿弥陀极乐净土与现世的自己及往生者的关系,现世的生命与死后的世界之间的关系是非常冷淡的。这一点可以说正是日本的阿弥陀净土绘画与敦煌的净土变最大的不同之处,是彼此不同净土观的反应。
This paper addresses the differences between the pure land images of Amitabha at different times and in different regions, and attempts to demonstrate the different pure land ideas, which might explain the differences between Japanese art and Dunhuang wall paintings of this theme. The pure land behef in Japan regarded ＂happily seeking pure land and leaving dirt land＂ as an ideal that could be realized, and kept pursuing it. It was exactly embodied in Japanese pure land images： the pure land＇is nearby. However, the pure land images from China and particularly from Dunhuang never reflect the relationship between the pure land of Amitabha Buddha among themselves in a secular world, and among those being reborn. This is a very different relationship between the secular life and the afterlife. The differences between Japanese and Dunhuang pure land images reflect their different pure land concepts.
出处
《敦煌研究》
CSSCI
北大核心
2013年第3期64-75,共12页
Dunhuang Research
关键词
日本的阿弥陀净土
敦煌净土变
净土观
Pure land of Amitabha in Japan
Pure land illustration at Dunhuang
Pure land concepts
