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佛像艺术的产生众所周知,早期的佛教艺术都是用象征手法表现佛的,如用白象表示摩耶夫人受孕,用足迹表示佛诞生,用白马表示越城出家,用菩提树表示顿悟成道,用鹿和法轮表示初次说法,用窣堵坡表示涅槃,等等。正是这种象征手法的存在,所以早期的佛教艺术中没有佛造像。公元前3世纪中叶阿育王时期,国家大力推崇佛教,佛教随之传入犍陀罗地区,但是象征性手法在佛教艺术中依然存在了很长一段时间,直到公元前1世纪,才在那里产生了佛造像,所以犍陀罗地区被誉为佛像的故乡。关于佛像产生的原因,王镛先生在《印度美术》中进行了详尽可信的分析:
As we all know, the early Buddhist art is the symbol of the performance of the Buddha, such as the white icon that pregnant Mrs. Mayer, with the birth of the Buddha said the birthplace of the White Horse, said the more out of the city, And the Falun said that for the first time, with Nimrod blocked slope, and so on. It is this symbolism that exists, so there is no Buddha statues in early Buddhist art. In the middle of the 3rd century BC, during the period of Asoka, the country vigorously promoted Buddhism and Buddhism was subsequently introduced into the Gandhara area. However, symbolic techniques persisted in Buddhist art for a long time and did not emerge until the 1st century BC Buddha statues, so Gandhara area known as the Buddha’s hometown. On the reasons for the appearance of Buddha statues, Mr. Wang Yong conducted a detailed and credible analysis in “Indian Art”: