| 新都宝光寺清代壁画涅槃图像解析 | |
| 杨筱 ; Yang Xiao | |
| 2016-03-30 ; 2016-03-30 | |
| 关键词 | 新都宝光寺 清末壁画 涅槃图像 K879.41 |
| 其他题名 | The Nirvana Image on the Qing Dynasty Mural of Baoguang Temple at Xindu District |
| 中文摘要 | 新都宝光寺壁画绘制于清光绪三十年(1904年)或稍后,是已知最晚的中国古代独立涅槃图像。画面由双树涅槃、应尽还源及阿育王造塔三个场面组成。图像表现主要借鉴了清永珊《释迦如来应化事迹》中相关图像,双树涅槃与应尽还源场面占据画面主体,以十二圆觉菩萨彰显法身,着意表述释迦佛化缘已尽、还源法身的思想,体现了明清时期涅槃图像的新发展。阿育王造塔场面,则反映了宝光寺地方信仰和特定历史背景。; The mural preserved in Baoguang Temple of Xindu District is dated back to the thirtieth year of Emperor Guangxu reign(1904 AD) or later in the Qing Dynasty,which is the last known independent nirvana image during Chinese imperial period.It is made up of three scenes:the Nirvana with Two Sala Trees,the Return to the Source and King Asoka Building Pagoda,which borrows much from several illustrations of The Traces of the Sakyamuni Buddha's Manifestation(《释迦如来应化事迹》) by Yongshan of Qing Dynasty.This image is mainly combined by the Nirvana with Two Sala Trees Scene and the Return to the Source Scene that twelve Yuanjue Bodhisattvas show the existence of Vairocana Buddha.It graphically expresses that Buddha passes over from mortality and returns to Actual Reality Body and shows new trend of the Qing Dynasty.King Asoka Building Pagoda Scene is associated with local belief and historic context in Baoguang Temple. |
| 语种 | 中文 ; 中文 |
| 内容类型 | 期刊论文 |
| 源URL | [http://ir.lib.tsinghua.edu.cn/ir/item.do?handle=123456789/146471]  |
| 专题 | 清华大学 |
| 推荐引用方式 GB/T 7714 | 杨筱,Yang Xiao. 新都宝光寺清代壁画涅槃图像解析[J],2016, 2016. |
| APA | 杨筱,&Yang Xiao.(2016).新都宝光寺清代壁画涅槃图像解析.. |
| MLA | 杨筱,et al."新都宝光寺清代壁画涅槃图像解析".(2016). |
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