本文選題：日本的阿彌陀凈土 + 敦煌凈土變��； 參考：《敦煌研究》2013年03期

【摘要】：本文以呈現不同地域與時代的阿彌陀凈土造型表現差異為目的,希望通過日本古代的作品和敦煌莫高窟壁畫的不同說明兩國阿彌陀凈土的造型差異及其背后不同的凈土觀。日本的凈土信仰將"欣求凈土,厭離穢土"看作一種并不遙遠的理想,持續(xù)地追求著。日本的凈土圖也正是這一追求的體現:凈土就在身邊。而敦煌以及中國的凈土變卻不表現阿彌陀如來、阿彌陀極樂凈土與現世的自己及往生者的關系,現世的生命與死后的世界之間的關系是非常冷淡的。這一點可以說正是日本的阿彌陀凈土繪畫與敦煌的凈土變最大的不同之處,是彼此不同凈土觀的反應。
[Abstract]:The purpose of this paper is to present the differences in the form of Amitabha Pure Land in different regions and times, and hope to explain the differences in the form of Amitabha Pure Land between the two countries and the different views on the Pure Land behind it through the different works of ancient Japan and the murals of Dunhuang Mogao Grottoes.The Japanese Pure Land belief regards "seeking Pure Land and being tired of the unclean Land" as an ideal which is not far away, and continues to pursue it.Japan's Pure Land is the embodiment of this pursuit: the Pure Land is around.But the change of Dunhuang and China's Pure Land does not show Amitabha's coming. The relationship between Amitabha's Pure Land and the earthly self and the deceased, the relationship between the earthly life and the world after death is very cold.This can be said to be the greatest difference between the Japanese painting of the Pure Land and the Pure Land of Dunhuang, and the reaction of different views of the Pure Land.
【作者單位】： 神戶大學大學院人文學研究科;
【分類號】：B948

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