FORMATION OF THE BUDDHIST CAVE TEMPLE

1.本项目的主要目的是试图将洞穴修道院理解为反映了与人文学科相关的某一历史社会的整体形象。它还站在那些将洞穴修道院视为当地文化单位的人的批评上。同时数字化洞穴寺庙的黑白照片和阿富汗巴米扬、福拉德、卡拉克等壁画的彩色照片。和Fil Khana，成功地分析了巴米扬洞穴的结构，并与库查和其他亚洲中部地区的洞穴结构进行了比较。塔西拉佛教寺院的整体建筑重新评估已经从类型学的角度重新审查了与寺院总体规划有关的每一座邪教建筑的砖石结构。这部作品似乎成功地按时间顺序重新安排了历代佛教活动，特别是在寺庙的视觉方面，并更好地了解了僧侣生活的一般发展。巴米扬巨像的日期是在没有确凿证据的情况下给出的。这一助学金项目使人们有可能接触到所有的中国和穆斯林文学来源，因此，从这些证据中可能出现了巴米扬的历史背景。这促成了巴米扬的新日期，这一日期与其他重要的事情一起在单独的小册子中出版。

1. The main aim of this project is to try to understand the cave monastery as reflecting an overall image of a certain historical society in association with various disciplines of the humanities. It also stand on the criticism of those who deal with cave monasteries as local cultural unity.2. In parallel with digitalizing the black/white photographs of cave temples and the color photographs of the mural paintings in Afghanistan such as Bamiyan, Foladeh, Kakrak . and Fil Khana, the structure of caves in Bamiyan was successfully analyzed in comparison with those in Kucha and other Cental Asian examples.3. The overall architectural reassessment of the Taxila Buddhist monaseries has been set out typologically reexamining the masonries of each cult building in relation to the general planning of monasteries. The work seems successful for a chronological rearrangement of Buddhist activities throughout ages especially in the visual aspect of temple, and for a better understanding of general development of monastic life.4. The date of the colossi in Bamiyan has variously been given without firm ground of evidence. This grant-in-aid project has made it possible to get access to all of the Chinese and Muslim literary sources and therefore a historical circumstance of Bamiyan has potentially emerged from such evidence. This has facilitated a new date for Bamiyan, which is published together with other important things in a separate booklet.