佛教图像学研究的主要目的是鉴定佛教美术作品的名称、内容、形象造型特征与性质。研究佛教美术(雕塑和绘画),必须探究作品的内涵和思想(例如佛教经变像所要传播的教义)。佛教美术作为宗教艺术是特定时代的传播作品,它们是信仰、崇拜,而不是单纯观赏的对象。其理想、内容、形象造型和审美形式,是为其宗教服务的。佛教图像学的研究还应该将不同地域的佛教美术内容、形象造型特征,按时代和地域作纵向、横向的比较,研究同时期不同地方,以及同一地域不同时期的衍变和发展。这就是笔者在本文中研究探讨成都南朝佛像与印度早期佛教美术流派关系的宗旨。海内外学术界过去探索成都南朝佛教石刻的源流,严重缺乏可资比对的图像学方面的数据。大多数学者都认为其源流是来自溯江而上的建康(南京)佛像模式,而后者又是由海路从南印度经东南亚输入的笈多(5—6世纪前半期)新样式。综观其论证,都未能认识清楚公元2—6世纪印度佛教艺术各流派的造型特征和传播路线。有鉴于此,笔者在本文中拟将成都南朝佛教造像石刻与前期犍陀罗佛像石雕、后期犍陀罗艺术(即印度一阿富汗流派白灰膏塑像)、笈多秣菟罗和萨拉那特的佛教雕刻,从图像学角度出发,就其形制、图像结构、形象造型等方面进行比对研究,对它们之间的关系作出比较合理而又科学的结论。 The main purpose of Buddhist image research is to identify the name, content, image modeling features and nature of Buddhist art works. To study Buddhist art (sculptures and paintings), one must explore the connotation and ideas of the work (such as the teachings of Buddhist scriptures). Buddhist art as a religious art is a spread of works of a particular era, they are the object of faith, worship, rather than purely ornamental. Its ideal, content, image modeling and aesthetic form serve its religion. The study of Buddhist imagery should also study the evolution and development of Buddhist art content and image modeling features in different regions vertically and horizontally in different regions and regions at different periods in the same period and at different periods in the same region. This is the author in this article to study the purpose of exploring the relationship between the Buddhist statues of Chengdu and South Korea early Buddhist art genres. In the past, academics both at home and abroad have explored the origins and origins of Buddhist statues of stone carvings in the Southern Song dynasty in China. There is a serious lack of data on comparable images. Most scholars believe that its origins come from the Jiankang (Nanjing) statues modeled after the river, which in turn is a new style of Yongduo (first half of the 6th-6th century) entered by Southeast Asia from South India by sea. To sum up their arguments, they failed to understand clearly the stylistic features and transmission routes of Indian Buddhism genres in the 2-6th century AD. In view of this, the author in this article intends to Buddhist statues of stone carvings in Southern Dynasties and early Gandhara Buddha statues stone carving, the latter Gandhara art (ie India-Afghan genus white plaster statue), 笈 秣 秣 菟 Luo and Saranat Buddhism Engraving, from the perspective of image, it makes a comparative study of its shape, image structure and image shape, and makes a more reasonable and scientific conclusion on the relationship between them.