摘要
华盖是从遮风蔽雨的伞盖转化而来,由实用器具升华为神仙方术意味的美称。这在汉代辞赋典籍中屡有记载,也被使用于奉神、长生、辟兵等庄严场合,在汉代图像中尤多见于西王母。在佛教入传中国后,汉恒帝设华盖之座并祠浮图老子,表明当时人把佛陀(浮图)与老子(道教始祖)同样对待,华盖也具有传统的方术意义。然而,与佛陀造像伴生的华盖,在印度原本是王侯象征的礼具,是把佛陀当视为王侯的,而在中国却是与神仙为伍的,表明中国早期华盖佛像是在神仙方术系统中被接受的。从华盖图像的中外寓意之别,反映了中国古代是立足于自身文化系统接纳外来文明的,中外文化之间的共性是最初被接纳的思想契机。
Canopy evolves from the umbrel a, a shelter for the rain, being a gloriifed expression in witchcraft rather than merely a practical instrument. Also, canopy, which is recorded in Han Fu （poetry and prose of the Han Dynasty）, is solemnly used in the celebration of Fengshen （ancient sacriifces）, Pibin （parrying attack） and Changsheng （praying for immortality）. Queen mother of the west is common in the Han images. Since the introduction of Buddhism into China, Emperor Hanhuan created canopy throne and the temple of kind favour of Lao Tzu, indicating Buddha （kind favour） and Lao Tzu （father of Taoism） are treated equal y, thereby canopy bearing the meaning of traditional divination. Canopy, coexisting with Buddha statue, is a royal symbol in India, while it symbolizes fairies in China, suggesting that the acceptance toward Buddha on the canopy of the emperor. The difference in messages at home and abroad shows that ancient China absorbs foreign culture on the base of its own characteristics, so the universality of Sino-Foreign culture lies in the accepted culture.
出处
《创意与设计》
2014年第4期54-61,共8页
Creation and Design
基金
国家社科基金重大项目"长江流域宗教文化研究"(项目编号:11&ZD117)
湖南省哲学社会科学基金重点项目"中国佛教造像的古印度渊源研究"(项目编号:12CGB004)
江苏省高校"青蓝工程资助"
江南大学科学研究项目"佛教装饰母题的中外传播与人文意象研究"(项目编号:1135210382140390)的阶段性成果~~
关键词
华盖
神仙方术
佛像
canopy of the emperor
fairy and divination
Buddha statue
作者简介
张同标，男，江南大学设计学院教授、博士，研究方向：佛教美术。
