文档介绍：天门· 天宫· 兜率天宫内容摘要: 四川、陕北、河西本土汉晋以西王母为主神的天门图像、长江流域汉晋佛像和犍陀罗弥勒天宫等, 促成了敦煌第 275 窟北凉弥勒天宫图像的出现, 在敦煌北魏洞窟流行并影响云冈。中土早期弥勒天宫图像的形成是犍陀罗佛像与汉地西王母神灵信仰传统的契合,也是佛教艺术中国本土化的早期例证。中国论文网/view- 关键词:天门;汉晋佛像;敦煌第 275 窟阙形龛;弥勒天宫中图分类号: 文献标识码: A 文章编号: 1000-4106 ( 2016 ) 01-0001-11 Abstract : The iconography of the Heavenly Gate as the abode of the Queen Mother of the West from the Han and Jin style in Sichuan , North Shaanxi , and Hexi regions , Buddhist images of the Han and Jin dynasties in the Yangtze River basin , and the Heavenly Palace of Maitreya in Gandhara together led to the creation of images portraying Maitreya ’s Tusita Heaven in Mogao Cave 275 of the Northern Liang dynasty. This new image was not only popular in the Northern Wei dynasty caves of Dunhuang , but also influenced the Yungang Grottoes. Early images of Maitreya ’s Heavenly Palace in the Central Plains derived from the convergence of Gandharan Buddhist sculptures and Chinese belief in the Queen Mother of the West and present some early examples of the Sinicization of Buddhist art in China. Keywords : Heavenly Gate ; Han and Jin Buddhist Images ; niches in the form ofa traditional Chinese gateway in Mogao Cave 275 ; Maitreya ’s Heaven Palace ( Translated by WANG Pingxian ) 我国早期石窟的开凿自然是受到印度影响的结果, 但是, 已有学者注意到早期石窟中存在的本土因素。例如, 王洁和赵声良注意到敦煌第 275 窟出现阙形龛, 他们敏锐地意识到它与东汉时期的“天门”有关: 在四川的另一件画像砖上, 阙门的上方还刻有“天门”字样, 表明当时人们的一种升仙思想。以人间的阙来象征