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笔者为了阐述中国流布白玉石释迦成道像的艺术特征和文化价值,及其在缅甸系释迦成道像谱系中的位置,基于某些零星资料和传闻信息,先后比较系统地调查了中国、缅甸的相关佛教寺院和博物馆,从而获取较为充实的第一手资料,使得这一课题的研究成为可能。本稿利用考古类型学与美术史样式论方法,梳理并分析所得资料,分别就缅甸系释迦成道像的形成与发展,以及缅甸系白玉石释迦成道像在中国流布情况进行了讨论。认为缅甸系释迦成道像在继承印度帕拉时期造型基础上,加入当地文化因素而形成自身风貌,绵延千年,形成缅甸绝对主流的造像形式。19世纪末叶至20世纪初叶,缅甸系白玉石释迦成道像批量传入中国,广泛分布在西南地区、东南沿海地区和中原北方,成为具有特定内涵的信仰偶像,其造型不仅体现强烈共通性,也呈现雕刻流派的差异性。
In order to illustrate the artistic features and cultural values of the Shakuhada tapestry in China and its position in the lineage of Shakyamuni in Burma, based on some sporadic data and anecdotal information, the author investigated successively China, Burma Related Buddhist monasteries and museums in order to obtain more substantial first-hand information, making the research of this subject possible. This paper uses archeological typology and art history style method to sort out and analyze the data obtained, discussing the formation and development of the Shakyamuni image in Burma and the spread of the Shakyamuni in Myanmar. It is believed that the Buddhism in Burma is based on the shape of the Pharaohs of India during the inheritance of the Palla period in India. By adding local cultural factors and forming its own style, it stretches for thousands of years and forms the absolutely mainstream form of statues in Myanmar. In the late 19th century to the early 20th century, the Burmese white jade Buddha Shakyamuni was massively introduced into China and widely distributed in the southwestern region, the southeast coastal region and the Central Plains North. It became a belief idol with specific connotations. Its shape not only embodied strong commonality, Also presents the difference of sculpture genre.