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维摩诘变相是中古佛教美术最重要的图像题材之一,其遗存丰富,序列严整而清晰,是中国佛教美术史学研究的重要个案,在20世纪各个历史时期的学术语境中,均有众多海内外学者撰文探索。本文综合考察20世纪以来维摩变研究的学术成果,按其学术史的发展脉络,对相关论著进行评述。作者认为,中古几种维摩画像之间虽然关系错综,却并非无理可循;瓦官寺维摩画像的形象虽不清晰,但仍有据可依,其既非东福寺藏宋本维摩样式,亦非炳灵寺169窟与龙门石窟宾阳中洞维摩形象。
Vimalakirtia is one of the most important image subjects in medieval Buddhist art. Its rich remains, well-defined and clear sequence is an important case study of Chinese Buddhist art historiography. In the academic context of each historical period in the 20th century, there are many Scholars at home and abroad to explore the article. This article comprehensively examines the academic achievements of the study of Vimalakwan since the 20th century and reviews the related treatise according to the development of its academic history. The author believes that there are some evidences that although the relationship between the ancient Vimalakirts is complicated, it is not unreasonable. Although the image of the Vimalakar painting in Wat Arun is unclear, , Nor Bingling Temple 169 Cave and the Longmen Grottoes Binyang Cave Vimo image.