摘要
古印度象征王侯身份和权势的"五威仪"中,尤以伞盖为代表。伞盖本为遮阳蔽雨的实用器具,后转为王仪标志,美称为"华盖"。早期印度佛教图像中的"华盖"既表示释迦牟尼的世俗身份为迦毗罗卫王子,又表示他是极受人尊重的出家僧侣,其思想底层是极易被忽视的王权意识。而在中国汉晋时期,华盖与神仙方术系统联系密切,多用于道教性质的仪式和图像,与王权无关。佛教传入中国后,在长江流域出现的华盖楼阁和华盖佛像,及汉桓帝设华盖之座并祠浮图、老子的文献记载,表现了中国当时对两种不同性质的华盖的理解,既显示了把佛陀视为神仙的基本态度,又意味着印度华盖作为图像原型的主导价值。
In the 'Five Dignities' of ancient Indian symbol of nobility and power,in which the rain canopy was the representative. The rain canopy is the practical appliance to shield sunlight and rain,which has changed to the imperial mark,given the laudatory title of 'canopy.' Early Indian Buddhist image of the 'canopy' means the secular identity of the prince Sakyamuni Kapilavastu,also means thathe is a very respected monk,and his ultimate layer is the royal consciousness can be easily overlooked. In the Chinese Han and Jin Dynasties,canopy connected to fairy alchemy systemclosely,and mostly used for the Taoistrituals and images regardless ofthe monarchy. After Buddhismcame to China,canopy and canopy pavilion statues appeared in the Yangtze River,and according to the literature record in which the canopy setby emperor Han Huan meantto sacrifice Buddha and Lao Zi,showing the time for two differentkinds ofunderstanding to canopy in China,which demonstrating the Buddha regarded as the basic attitude gods,butalso means thattheimageof India asa dominantvalueofprototypecanopy.
出处
《艺术探索》
2015年第5期18-36,共19页
Arts Exploration
基金
国家社科基金重大项目"中印佛教美术源流研究"(14ZDB058)
国家社科基金艺术学项目"舍卫城大神变与中印佛像莲花座源流研究"(15BF078)
上海市社科规划课题"佛教庄严图像的中外源流与传播"(2015B062)
