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四川什邡发现的中国最早的画像砖佛塔形象,与同期的文献记录相近,均为楼阁式木作建筑。什祁画像砖佛塔明显源于古印度西北广为流行的高层佛塔,中国佛塔是在此基础上依据传统的楼阁式建筑而发展起来的。基于信仰观念支配宗教艺术的看法,汉代“神仙好楼居”的传统思想,使得犍陀罗佛塔得以比附仙人所居的木作高楼而在中国安家落户。宗教信仰的类同性,其重要性远在单纯形制模仿改造之上,或许正是这一原因,使得楼阁式佛塔得以在中国广为传播。作为早期佛教艺术的珍贵文物,什祁佛塔成为研究中国早期佛塔形制演变、中国汉代神仙信仰以及佛教初传中国的重大问题之间相互联系的纽带。
The earliest portraits of brick pagodas found in Shifang in Sichuan Province are similar to those in the same period and are all pavilions of wooden buildings. Shiki brick pagodas obviously originated from the popular high-rise pagodas in northwest of ancient India. The Chinese pagodas were developed on the basis of traditional pavilion-style buildings. Based on the belief that religious belief dominates religious art, the traditional thinking of the Han Dynasty “Immortal Good House” makes Gandhara Fortune settle down in China rather than the tall wooden building where immortals live. The importance of homosexuality of religious beliefs is far more than mere metonymy. Perhaps it is for this reason that the pagodas are widely disseminated in China. As a precious relic of early Buddhist art, the Shifu Pagoda became a link between China’s early evolution of the Buddhist pagoda and the immortal beliefs of the Han Dynasty and the major issue of Buddhism’s initial successor to China.