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在中国佛教造像中,弥勒佛的形象是变化较大的。它自交脚弥勒开始,中经“古佛”弥勒,再到布袋弥勒,完成了从异域佛像到本土佛像的转化。乐山大佛作为一尊“镇江的”弥勒佛,对于这个转变过程来说,其古佛形象的造型具有着重要的意义。本文试图从演化的角度,来谈谈乐山大佛的形象特征问题。敦煌莫高窟第275窟中央的交脚弥勒,据学者们研究系十六国时代建造的原迹,要算现存弥勒造像中最早的了。石窟的主要内容,正中为狮子座上的交脚弥勒塑像,两壁上方共六个小龛中各塑弥勒菩萨一身,窟内南壁画菩萨二躯与佛传故事出游四门一带,北壁画菩萨二躯和尸毗王本生、毗楞竭梨王故事等一带,有
In Chinese Buddhist statues, the image of Maitreya Buddha is greatly changed. It started from the Maitreya scriptures, the “ancient Buddha ” Maitreya, to the bag Maitreya, completed from the exotic Buddha to local Buddha image conversion. Leshan Giant Buddha as a “Maitreya ” Maitreya Buddha, for the transformation process, the image of the ancient Buddha shape has an important significance. This article tries to talk about the image characteristics of Leshan Giant Buddha from the perspective of evolution. Maitreya Dunhuang Mogao Cave 275 temple at the center of Maitreya, according to scholars to study the Department of the Sixteen-nation era to build the original, to be considered the earliest Maitreya statues. The main content of the grottoes, the middle of the statue of Leo Leo Maitreya, a total of six small niches in the two walls of a plastic Maitreya Buddha cave inside the body of the Buddha and the Buddha story travel around the four areas, the northern wall painting Buddha II Knees and corpses next to Wang Bunsen, adjacent to the story of the dried pear King and other areas, there