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从印度到敦煌:乾闼婆与紧那罗图像衍变研究

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飞天的主要形象是乾闼婆与紧那罗,来自古印度神话传说,一般出现在佛塔上方,为天龙八部之两部,又称乐舞神,多见于石窟寺佛教造像。早期印度石窟造像中,二神形象经历了犍陀罗、秣菟罗等风格变化,性别差异明显。到敦煌隋代壁画中,所见二神形象吸取了羽人、百戏、杂技、伎乐表演等大量本土文化元素,不仅图样上与印度相去甚远,还表现为二神合体、无法分辨的形象,堪称由"像"至"象"的改变,反映了佛教华化所经历的变化轨迹。
From India to Dunhuang:A Study of the Images Derivation of the Gandharva and the Kinnara
Gandharva and Kinnara in the ancient Indian myths and legends are the main images of the Flying Apsaras.As two music and dance gods of the Eight Heaven Dragon Gods,they are mostly appeared on the top of the stupas and in Buddhist statues of cave temples.In early Indian cave stat-ues,the image of the two gods have undergone Gandhara,Motsutra and other stylistic changes which have distinguished gender differences.In the Sui Dynasty murals at Dunhuang,the images of the two gods were absorbed a lot of local cultural elements such as Daoist priest,folk acrobatics,and Chinese gigaku.So their sculptures not only differed greatly from the ordinary Indian image,but also represented as the two gods combined as one or indistinguishable images.These changes can be described as from the"sculptures"to"imagery",and they reflect the localization trajectory of Buddhism in China.

GandharvaKinnaraFlying ApsarasIndiaDunhuangDerivation

梁振中、夏滟洲

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宝鸡文理学院(陕西宝鸡721013)

浙江音乐学院(杭州310024)

哈尔滨音乐学院

乾闼婆和紧那罗 飞天 印度 敦煌 衍变

陕西省社科基金项目浙江省哲学社会科学领军人才培育专项项目国家社科基金项目

2019K03421YJRC14ZD2018VJX008

2023

北方音乐
黑龙江省音乐家协会

北方音乐

影响因子:0.137
ISSN:1002-767X
年,卷(期):2023.(1)
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