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The evolution and spread of the image of "Nagas Bathing Siddhartha" in Buddhism Art1 1 This work is a part of the projects funded by the 2021 National Philosophy and Social Science Foundation Art Project: The Research on the Formation and Dissemination of the “Model of Yungang Grottoes”, in the Northern Wei Dynasty (21BF100). The 2020 Shanxi Philosophy and Social Science Research Project-Animal Image Research in Chinese Buddhist Art, The “1331 Project” innovation team of the Jinzhong College in 2019 “Shanxi Cultural Heritage Inheritance and the Strategic Study of the Provincial Culture and Tourism Strong Province” (jzxycxtd2019002) stage results, Zhejiang Provincial Heritage Conservation Technology Project (2020016), Ningbo Project of Cultivating Promising Personnel in Cultural and Art Area (2017-2020).

Recherche sur la propagation et la transmutation du “Dragon Bathing Prince” dans l’art bouddhique

Abstract:

The image of the “Nagas Bathing Siddhartha”, an important theme in Buddhist art, was produced in India and has appeared successively in Xinjiang, Gansu, Qinghai, Shanxi, Shaanxi, Henan, Shandong, Jiangsu, Sichuan, Tibet and other places in China during the process of Buddhism spreading to the east. However, its forms and contents differ in different regions and different periods. Therefore, it is conducive to understand the sinicization process of Indian Buddhist art and can deepen the understanding of the specific contents of Buddhist art exchanges to study the differences. The innovative point of view of this paper is that the distribution of “Nagas Bathing Siddhartha” is “regional,” and the variation of its style reflects the route and regional characteristics of Buddhist transmission.

Keywords:
Nagas Bathing Siddhartha; Evolution; Two nagas; Nine nagas; Sinicization

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