摘要
佛教在中国深入人心,图像的感召起到了重要的作用。然而,外来的图像其传播和经典一样需要"翻译",尤其对于诸如菩萨佩饰——"璎珞"这样并非中国本土的饰物。"璎珞"一词本身即佛教传入之后的新词汇,其形象的来源就更为丰富,既有在从印度到中国的传播过程中沿途各种图像元素的混入,也有中国本地工匠"望文生义"之后,融入传统佩饰的发挥创造。莫高窟菩萨璎珞从北朝的全盘模仿到隋唐固定样式的形成,其"本土化"的"翻译"过程体现出图像传播的复杂性。
The sympathy-arousing images have played an important role in the popularization of Buddhism in China. These images introduced from abroad, never- theless, need to be translated, just as the Buddhist classics, so as to be understood by local Chinese people.The same is true for yingluo, a neck ornament usually wore by Bodhisattvas. Even the Chinese characters for yingluo were newly created after Buddhism was introduced to China. The evolvement of the image of yingluo was a quite complex process, with various kinds of visual elements getting involved during the introduction of yingluo from India to China, and Chinese craftsmen adding their own understanding of the exotic ornament based on features of traditional Chinese accessories. The ＂localized＂ translation of the image of yingluo on the murals of the Mogao Grottoes evolved from the uncritical copying in the Northern Dynasty to the formation of the routine form in the Sui and Tang dynasties, which demonstrates the complexity of image transmission.
出处
《艺术设计研究》
CSSCI
2015年第1期18-26,共9页
Art & Design Research
关键词
菩萨璎珞
“翻译”
图像“本土化”
yingluo for Bodhisattvas
visual translation
localization of image
