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1922年~1952年的30年期间,法国独占阿富汗考古发掘权利,开启了阿富汗近代佛教美术研究的学术调查史。在阿富汗佛教遗址的初期佛教美术研究中,考古学调查收集了最基本的材料,但汉文文献和中国境内石窟寺资料也为年代学断代提供了重要依据。巴米扬石窟因为其特殊性和综合性,一直是东西方学界关注的焦点,同时国际学者在研究巴米扬石窟过程中,都不断受到周围汉学和东亚考古学的影响,这些来自中国各方面的影响,一定程度上左右着学者对于巴米扬乃至整个阿富汗石窟的判断。本文梳理了巴米扬初期佛教美术研究中的各种影响因素,努力还原一个国际视野中的巴米扬研究史。
During the 30 years from 1922 to 1952, France monopolized the archaeological excavations in Afghanistan and opened the academic investigation history of modern Buddhist art research in Afghanistan. Archaeological surveys collected the most basic materials in the early Buddhist art studies of Buddhist sites in Afghanistan. However, the Chinese literature and the data of cave temples in China also provided an important basis for chronology. Because of its particularity and comprehensiveness, Bamyan Grottoes has always been the focus of attention both in East and West. At the same time, international scholars are constantly influenced by the surrounding Sinology and East Asian archeology in the process of studying the Bamiyan Grottoes. These are from all aspects of China , To a certain extent, influenced the scholars’ judgment on Bamyan and even the entire Afghan caves. This article combs the various influential factors in the research of Bamean’s early Buddhist art and tries his best to restore the history of Bamyan in an international perspective.