作者：何志国;

机构：江苏大学艺术学院;

中文关键词：汉晋佛像;;手印和佛装;;犍陀罗艺术;;秣菟罗艺术

英文关键词：Han and Jin Buddha image;mudra and kasaya;Gandhara Art;Mathura art

中文摘要：汉晋佛像的发展可划分为3个阶段,各阶段的主要特征分别是:东汉中期施无畏印、袒右肩和通肩衣并存,东汉晚期施无畏印、通肩衣,吴晋时期禅定印、通肩衣。上述特征反映了印度早期佛像不同时期粉本的传入,体现了初传中国佛像的阶段性差异。同时,汉晋佛像仪轨特征在各阶段还存在传承性关系。长江中、下游地区发现的吴晋佛像与康僧会"设像行道"等记载,在地域和时间上都可以相对应。长江上游地区佛像来源缺乏记载,但佛像出现最早,且第一、二阶段佛像特征变化与印度初期佛像发展趋势同步,暗示此地存在畅通的佛像传播途径。

英文摘要：The Han and Jin Buddha Images can be divided into three groups: those with Abhayamudra,in a kasaya with right shoulder either bared or clothed in the mid-Eastern Han Dynasty,those with Abhayamudra,in a kasaya hiding both shoulders in the late Eastern Han Dynasty,and those with Dhyanimudra,in a kasaya hiding both shoulders in the Wu Kingdom of the Three Kingdoms and the Jin Dynasty.These different images show that there were different funpons of early Indian Buddha images at different times introduced into China and that the introduction was marked with differences at different times.However,from the mid-Han images to the Jin images,they showed a clear inheritance.The Buddha images of the Wu Kingdom and the Jin Dynasty found in the middle or lower reaches of Changjiang correspond in time and region to Kang Senghui's record of "using Buddha images to help preach".The origin of Buddha images found in the upper reaches of Changjiang has not been documented,but these images were the earliest ones,with the changes in the first stage images and the second stage images in line with the development of early Buddha images,hinting a smooth way of spreading Buddha images in that region.

[中文刊名]：江苏大学学报(社会科学版) [出版日期]：2009-07-30 [CN]：32-1655/C [ISSN]：1671-6604

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