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1 Dharma Drum Journal of Buddhist Studies, no. 8, pp (2011) New Taipei City: Dharma Drum Buddhist College ISSN: * /11/ /04/12

33-102 (2011) New Taipei City: Dharma Drum

2 34 100

3 Prof. A. C. Soper South Chinese Influence on the Buddhist Art of the Six Dynasties Period 529 Amarāvati 1 Dong-duong 1a 1b A. C. Soper, The Bulletin of the Museum of Far Eastern Antiquitise (Stockholm) 32, pp Fig21. Hanoi Museum: Brones Buddha from Dong-doung

Amarāvati 1 Dong-duong 1a 1b 2 502-557 3 479 4 5 1 A. C.

4 刹

5 37 10 髪髪髪

7 39 Loriyan Tangai Swat Butkara I Taxila Dharmarājikā Ahicchattrā Srāvastī Kauśāmbī Allahabad 16 istūpa ii 18 iii Ionic L R. C. Sharma, Buddhist Art Mathura School (New Delhi: Wiley Eastern Limited and New Ase International Limited), PL Jamalpur Govindnagar Inv. Nr, I 51 Palast der Gotter: 1500 Jahre aus Indien (German Edition) 1500 Berlin: Dietrich Reimer Verlag, p. 76, PL. 28 Adhyeshana The First Sermon 18 Loriyan Tangai no. 5054, Origins of the Gandharan Style: A Study of Contributory Influences (New Delhi: Delhi Oxford University Press, 1989), PL The Conversion of Nanda Haḍḍa British Museum, no PL

Nr, I 51 Palast der Gotter: 1500 Jahre aus Indien (German Edition) 1500 Berlin: Dietrich Reimer Verlag, 1991-1992 p. 76, PL.

8 CST : 2 90CST : 3 90CST : stucco TaxilaHaḍḍa Jalalabad 8 Dharmarājikā 20 Kālawān the Art of Stucco Phase Siṃhāsana a H1 11 b

the Art of Stucco Phase 22 23 Siṃhāsana 20 11 2002

9 41 1. Mohrā Morādu 24 8 no no. 30 śikṣā-mudrā 2a 2b no a 3b tribhaṅga a no no. 31 no. 30

30 31 25 8 490 2 495 3a 3b tribhaṅga 1-3

10 Vajrapāṇi Padmapāṇi worship of dharmacakra Ahicchattra cakra 髪 Katrā in meditation mudrā R. Jamuna L shutter effect in drapery kuśa R. C. Sharma, Buddhist Art Mathura School, PL.74, Seated Buddha Flanked by acolytes, worship of dharmakacra on Lion throne, Ist century A.D. 27 a. Palast der Gotter: 1500 Jahre kunst aus Indien, PL /3. Jh. n. chr c 2-3 b. 16 Seated Buddha flaked by acolytes, worship of dharmakacra on lion throne, 1st century A.D., spoted red sandstone, from Mathurā, Indian Museum, Calcutta, no. A PL. 65, Ideal form of Buddha/Boddhisatta, 1st century A.D. Spotted red sandstone from katrā mound, Mathurā, Mathurā Museum, no. A PL. 110, Buddha in meditation (head missing), relaxed shutter effete in drapery, late Kusāna period, buff sandstone, from R. Yamunā bank, Mathurā, Mathurā, Museum, no

/3. Jh. n. chr c 2-3 b. 16 Seated Buddha flaked by acolytes, worship of dharmakacra on lion throne, 1st century A.D., spoted red sandstone, from Mathurā, Indian Museum, Calcutta, no. A. 25524 2-3 1 28 16 PL.

11 43 V a 10b

12 Collective Portrait / Origins of the Gandharan Style: A Study of Contributory Influences, PL The Descent from Traysstrimisa ( ), from Gandhāra, British Museum, no

Study of Contributory Influences, PL. 108.

14 髪 khalchayan style Origins of the Gandharan Style: A Study of Contributory Influences, p. 25, PL. 27, Standing image of a Boddhisattva, from Gandhāra, British Museum, no KhalchayanOxus Surkhan Darya Uzbekistan no U

27, Standing image of a Boddhisattva, from Gandhāra, British Museum, no. 1880-72.

15 a a no. 30 a no. 33 a no S 4 post a no. 30

16 Kusāna early Gupta X

17 ūrṇā 髪 V U a b

18 Stylized 3a 3b V U 1b 4 5 A.D M. M. no. A5 V U 髪 3 22 the attainment of supreme knowledge Yāsadinna

19 exhibited in the Rashtrapati Bhawan M V U V M. M. no Govindnagar V U R. C. Sharma, Buddhist Art Mathura School, p. 206 PL. 128, An outstanding image of the Buddha, rich nimbus, thin drapery, rippling folds, serene expression mound, 5th century A.D., red sandstone, from Jamalpur mond, Mathurā Museum, no. A p207; PL. 129, Buddha image of same quality, 5th century A.D., buff sandstone, from Mathurā, now in the President s House, New Delhi. 51 p. 207, PL. 130, Standing Buddha, halo missing, red sandstone 5th century A.D., from Mathurā, Indian Museum, Calcutta no. M. 13.

128, An outstanding image of the Buddha, rich nimbus, thin drapery, rippling folds, serene expression mound, 5th century A.D.

20 Ghatitā Dinnena Dinna Yasadinna Chamundā 5 髪 p. 207; PL. 133, Standing Buddha image recording the name of the sculptor Dinna date in the year 115 (A.D ), red sandstone, from Govindnagar, Mathurā, Mathurā Museun, no p. 211; PL. 142, Head of the Buddha An outstanding spicemen of Mathurā art, Gupta period, 5th century A.D., red sandstone, from Chāmundā mound, Mathurā, Mathurā Museum, no R. C. Sharma, Buddhist Art Mathura School, Section7, Buddha in the Art Mathurā pp

76.25 53 p. 211; PL. 142, Head of the Buddha An outstanding spicemen of Mathurā art, Gupta period, 5th century A.D.

21 髪髪 5 Chamundā 敇 Vajra 1-3 Vajrapāṇi Scythes 髪

22 Sārnāth Benāres Vārāṇasī Mrgadāva Chunar U V A.D R. C. Sharma, Buddhist Art Mathura School, Section 9, Mathurā and Other Schools of Art, pp , The Sārnāth style follows the graceful technique and may be considerde as further improvement of the Mathurā trait, the mostremarkable and distinguishing feature of the Sārnāth style is the foldless wet drapery, op. cit. p. 230.

23 55 Jayabhatta 刹 Yasā vihāra 19 Katrā 髪 Saṅghātī U U S Govindnagar M. M. no Kuśāno- Gupta 髪 32 Sārnāth R. C. Sharma post-kuśāna 4-5 early Gupta 5 Kuśāno-Gupta 60 R. C. Sharma, Buddhist Art Mathura School, pp , PL. 125, Standing Buddha image in stalled by Jayabhatta in yasā vihāra dated in the year 230 (A.D. 308), buff sandstone, from Katrā, Mathurā, State Museum, Lucknow no. B. 10.

24 phase Govindnagar Buddha torso 5 U foldless drapery Stūpa 髪 pp , PL.126, Buddha standing in abhaya pose, foldless drapery remarkable, c, 4th century A.D., buffstone, from Govindnagar, Mathurā Museum, no pp , PL. 138, Buddha torso with foldless drapery, Gupta period, 5th century A.D., red sandstone, from Govindnagar, Mathurā in custody of Archaeological surver of India, New Delhi

25 Padmapāṇi 65 Yakṣa tribhaṅga a. J. G. Willias, The Art of the Gupta India (New Jersey: Princeton University Press, 1982), p. 77, PL. 91. b. Palast der Gotter: 1500 Jahre kunst aus Indien, p. 91, PL. 48, Buddha, Gelbrauer sandstone, 127.0x51.0cm, Sārnāth, A.D , Indian Museum, Calcutta, ACC. no. 514/A a. b p. 79, PL. 97 (Dietrich Reimer Verlag Berlin, ) b. a p. 92, PL. 47, Boddhisattva Avalokitesvare, Gelbrauer sandstone, 113.ox50.ocm, Sārnāth, A.D. 5th. chr. Indian Museum, Calcutta, Acc. no. 537/A Tantra Avalokitesvara 4 The Gods of Northern Buddhism London: Oxford at the Clarendon Press, 1928 pp

26 Anurādhapura 200 Champa 髪髪 69 髪 Visualization 髪 36a 36b

27 R. C. Sharma foldless drapery 4 saṅghātī 72 R. C. Sharma Samarkand Kebud R. C. Sharma, Buddhist Art Mathura School, p. 203.

29 a 38b 9 Amarāvatī 髪敇髪

30 髪髪髪 Buddhist Art Mathurā School PL. 113 late Kuśāna 2 PL. 138 PL. 118 Buddha torso with foldless drapery Gupta periodgovindnagar

31 63 Swat Butkara I Saka-Parthian Style 6 Kuśāna Mathurā Style Uḍḍīyana Style 87 Prof. A. C. Sopper Uddiyana Style Uddiyana Swat

32 髪

33 Bactria Udyāna Uḍḍīyana Gāndhāra Mathurā Sārnāth Mṛgadāva Miran Pamir a b a b c

35 67 1a Dong-duong 1b 529 WSZI 158

36 a a=no. 30 Mohrā Morādu 2b b=no. 30 Mohrā Morādu

37 69 3a 8 490H b CST

41 73 10a b

43 75 13 Knalchayan

44 a=no. 33 Mohrā Morādu 16 5

46 CST

47 WSZ

51 83 29 Indo-Scythian

54 a

55 87 36b Sikri 2

56 a WSZ b H

57 WSZ

58 WZS

60 92 100

61 93 3

62 94 100

63 95 4

64 H1:1 90CST :7 H1:7 90CST :8 WSZ41 WSZ42 WSZ1 H1:3

65 WSZ43 WSZ44 WSZ8 H1:5 WSZ45 H1: XZJ05 20

68 Bannmann, Museumfür Indische Kunst Berlin Palast der Gotter: 1500 Jahre Kunst aus Indien (German Edition). Berlin: Dietrich Reimer Verlag. Getty, Alice The Gods of Northern Buddhism. London: Oxford at the Clarendon Press. Willias, J. G The Art of the Gupta India. New Jersey: Princeton University Press. Nehru, Lolita Origins of the Gandharan Style: A Study of Contributory Influences. New Delhi: Delhi Oxford University Press. Soper, A. C South Chinese Influence on the Buddhist Art of the Six Dynasties Period. The Bulletin of the Museum of Far Eastern Antiquitise (Stockholm) 32, pp Sharma, R. C Buddhist Art Mathura School. New Delhi: Wiley Eastern Limited and New Ase International Limited. Prof. A. C. Soper

69 101 An Iconographic Comparative Study of Buddhist Sculptures from Chengdu during the Chinese Southern Dynasties and Buddhist Sculptures of Gandhāra, Mathurā, and Gupta Hu Wencheng Assistant Professor, The College of Foreign Langauges and Literature Chongqign University, China, PRC Hu Wenhe Reseacher and Professor, Department of Literature Sichuan Academy of Social Sciences Abstract This iconographic study identifies the name, content, features, and nature of various works of Buddhist art. The authors contend that any study of Buddhist art sculpture or painting must consider its content and meaning, including the teachings intended to be conveyed by pictorial representations of Buddhist doctrines. Buddhist art, which originated as a religious art form to spread its teachings, was intended to convey beliefs and be used in worship, not solely to be appreciated aesthetically. The goal, content, image-composition and aesthetic style of Buddhist art are all subject to the needs of the Buddhist religion. Moreover, an iconographic study of Buddhist art should include both longitudinal and crosssectional research on works in the same region that were produced at different historical periods, or vice versa, so as to determine how they evolved and developed. This paper engages in such a study of the relationship between Buddhist sculptures of the Southern Dynasties in Chengdu and different styles of early Buddhist art in India. There are hardly any comparative iconographic studies of the origin of the Buddhist stone sculptures in Chengdu during the Southern dynasties in previous scholarly. Most scholars hold that these Buddhist sculptures came up from Jiankang (present-day Nanjing, in Jiangsu province) on the Yangtze River, and were originally transmitted to China by sea from South India to Southeast Asia during the 5 th century and the first half the 6 th century. Nevertheless, they have failed to attend

70 to the characteristics of the image-compositions of Indian Buddhist art between the 2 th and the 6 th centuries and their transmission route to China. The authors of this paper explore the origin of such Buddhist stone sculptures in Chengdu from the Southern dynasties by comparing them with Buddhist stone sculptures of both early and late Gandhāra style, i.e., the white-plaster sculptures of India and Afghanistan, the Buddha images of Mathurā art of the Gupta period, and Buddha images of Sārnāth style. On the basis of their comparative iconographic study of the image structure and the image composition of such Buddha images, they draw a reasonable conclusion concerning the relationship between the two. Key words: Iconography; the Buddhist Sculptures of Southern Dynasties in Chengdu; Gandhara Style; Mathura Style; the Style of Gupta Period

第16卷第2期邯郸学院学报 2006年6月

第16卷第2期邯郸学院学报 2006年6月第 18 卷第 4 期邯郸学院学报 2008 年 12 月 Vol.18 No.4 Journal of Handan College Dec. 2008 赵文化研究论赵都邯郸与赵国都城研究问题朱士光 ( 陕西师范大学历史地理研究所, 陕西西安 710062) 摘要 : 战国七雄之一的赵国都城