Studies on Buddhist Art from the viewpoint of Exchange and Tradition-From India to Japan-

本研究旨在以“交流与传统”的多方位视角，厘清佛教艺术从印度经中亚、中国、韩国传播至日本的某些方面，以及佛教艺术的变迁与发展。我们已经把重点放在主题，如Jatakas，佛传，Jodo艺术，和艺术的六界。它们都是佛教艺术的主要主题，而且它们还展示了从印度传播到东亚的巨大转变和发展。(1)对《自传》的研究，从一个侧面反映了从印度以因果轮回思想为基础的叙事到中国以六修为重点的叙事的变化。此外，作为释迦牟尼佛在犍陀罗的开始章节的Dipa〓kara Jataka的过程是随着未来开悟（vyakarana）预言的思想而发展的。(2)对释迦牟尼画传的研究主要集中在释迦牟尼的“观照”、“开悟”、“涅槃”、“释迦牟尼的死”，得出以下结论；关于马拉维加耶的论述展示了马拉、他的下属、他的女儿和大地女神的图像特征，这些特征出现在从印度到中亚，再到中国的每个国家或地区和时期。《涅槃》研究探讨叙事再现的发展；它从一开始作为基于巴利文《大毗尼瓦经》的传记的一部分开始，然后与印度和中亚的佛塔和弥勒的崇拜联系在一起，最终发展到与大乘典籍（如《大毗尼瓦经》）和中国唐代相关的图像学。(3)关于柔道艺术，我们研究了几个主题；从犍陀罗《净土》变换场景的创作、中亚禅修与禅道画的关系、北齐至唐初绘本《观无良守经》与禅道文本的关系以及中、韩、日三国以原文本为基础的《净土》变换场景的发展等方面进行了探讨。(4)在《六境艺术》中，我们考察了中日六境艺术的比较研究，并着重探讨了《六境》与《水陆加》的关系，以及《腐尸图》、《Kusoshi手卷》等对人间不洁的描绘与沉思的关系，从“交流与传统”的角度阐明了中日两国各自的个性与联系。少

The purpose of our research is to clarify some aspects of the propagation of the Buddhist Art from India to Japan through the Central Asia, China and Korea, and its transition and development, taking the multifaceted viewpoint of' 'Exchange and Tradition.' We have placed emphasis on the themes such as Jatakas, Biography of Buddha, Jodo art, and the art of Six Realms. They are all main themes of the Buddhist art and furthermore they show their great transition and developments on the way to spread over from India to Eastern Asia.(1) Studies on the Jatakas deal with a aspect of the changes from the narratives based on the thought of the reincarnation by karma in India to the narratives stressing the six practices in China. Moreover, the process that Dipa〓kara Jataka as the beginning episode of Sakyamuni Buddha in Gandhara developed as the thought of the prophecy of future enlightenment (vyakarana) is clarified.(2) Studies on the illustrated biography of Buddha focused on the 'Maravijaya' … More or the 'enlightenment' and the 'Nirvana' or the 'Death of Buddha' to reach the following conclusion; The discourse on the Maravijaya shows the iconographic features of the Mara, his subordinates, his daughters and the earth goddess seen in every countries or areas and periods to trace the transition from India to the Central Asia, and on to China. A study on Nirvana discusses the development of the narrative representation; it started from the beginning as a part of the biography based on the Palis Mahapalnnivva〓a-suttanta and then connected with the cult of stupas and of the Maitreya in India and Central Asia, and finally and finally developed to the completion of the iconography related with Mahayana texts such as Mahaparinirvana-sutra and during T'ang China.(3) As for the Jodo Art, we examined several topics ; the aspects of the creation of the transformation scene of Pure Land in Gandhara, the relationship between the meditation practice and the Jodo paintings in Central Asia, the relationship between the illustrated Jodo and the Jodo text Guanwuliangshoujing from the Northern Qi to the early T'ang dynasty and the development of the transformation scenes of the Pure land based on the former text in China, Korea and Japan.(4) On the Art of Six realms, we examine the comparative study of the Six realms art in China and Japan, and also focus on the relationship between the Jizojuo-zu and Sui-riku-ga, and the relation between the depiction of the impurity of the human realms such as the illustrated decomposing corpse and the Kusoshi handscroll and the contemplation to clarify the aspects of the respective individuality and link in China and Japan from the viewpoint of 'Exchange and Tradition'. Less