中原北方宋辽金时期涅槃图像考察

中原北方宋辽金时期涅槃图像,具有时代共通性的一面,同时呈现东部地区与西部地区的地域差异。在图像表现方面,两地区涅槃图像不同程度地继承了唐代因素,相对来说,东部地区沿用的唐代因素较多;西部地区在唐代基础上又部分地吸收了东部地区宋代因素,并获得新发展。在图像内涵方面,东部地区表现为涅槃与弥勒佛组合,延续了传统图像的做法,着意表述佛法传承的意图。涅檗与三身佛组合是这一时期的新现象,反映了大乘佛教权道、化现思想。西部地区表现为涅槃、罗汉、横三世佛(释迦·弥勒·阿弥陀)组合,一方面强调了罗汉守护和传承佛法的作用,另一方面凸显信徒向往并期望将来往生净土世界的心态。东西两地区有关摩耶夫人画面的流行,与当时社会大力倡导孝行的情况密切关联。涅槃升仙图像则是佛教进一步世俗化的表现。

An Investigation of Nirvana Images of the Liao-Jin Period from the Central Plains and North China

The Nirvana images of the Liao-Jin period from the Central Plains and North China have a common age but fall into two distinctive regional types-eastern and western.In terms of artistic expression,the Nirvana images from both regions inherited elements from Tang Dynasty art to different degrees,and generally speaking those images from the eastern region tended to contain more elements of Tang art,while those from the western region drew on elements of eastern art on a basis of Tang art and registered new developments.In pictorial content the Nirvana images of the eastern area showed a connection with Maitreya groupings, and they perpetuated traditional pictorial working methods as well as new images created in this period melding Nirvana images and Buddha triads,reflecting the propagation of Mahayana Buddhism.In the western region,the images of Nirvana,Arhats and the Buddha of the Past, Present and Future were combined.On the one hand this emphasized the protection of the Arhats and the transmission of the Dharma;on the other hand,this graphically expressed the hopes of believers in the future Pure Land.Toe popularity of images of Maya in these images in both the eastern and western regions was intrinsically related to the social advocacy of filial behaviour at that time.The images of ascending immortals in Nirvana pictures are an expression of the increasing popularization of Buddhism.