[{"data":1,"prerenderedAt":54},["ShallowReactive",2],{"artwork-di-shi-tian-tu-dong-bi-yi-ming-222144":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":23,"material":13,"size":24,"collection":25,"collections":26,"showCount":27,"zanCount":28,"manualWeight":29,"mainColor":30,"tagLinks":31},222144,"di-shi-tian-tu-dong-bi-yi-ming-222144","帝释天图东壁","明","佚名","法海寺","帝释梵天图位于大殿内后墙壁两侧，共两铺，高3.2米,长14米，面积44.8平方米。壁画主要内容是以帝释梵天为首的二十诸天礼佛护法的行进队伍，故全称为帝释梵天礼护法图。绘二十诸天及侍从共36人物，每一人物高1.2米——1.6米。诸路天神鬼众浩浩荡荡，敬佛护法，各显其能。气势森严，排列有序，三五不一，相互呼应。纷至遝来，令人目不暇接。\n佛教壁画中表现帝释梵天的作品，在南朝梁代（400——450年）已见描绘，到唐、五代就广为流行，不少著名的画家都表现过这一题材。在唐两京、成都等地寺院就画过不少释梵天众图像。这些作品的内容不尽相同，技艺亦各异。诸天不仅为护法神，也被视为是方便导化众生的佛的化身。宋元以后，特别是明清，寺院的壁画中帝释梵天图极为流行。同时由于后期佛道掺杂，佛教图像中有了不少道教的神像，如道教中的紫微大帝、东岳大帝、雷神、风神等，也进入佛教图像行列，变为二十四天、三十三天等。法海寺壁画帝释梵天图基本上是按唐代的内容画出来的，二十诸天中没有道教神像，而且构图布局和形象处理与早期有着更多的传承关系。要看唐宋时代佛教一脉相承的“帝释梵天图”的形象，只能在法海寺壁画中看到。\n法海寺壁画完全保留了原来的密宗体系，具有唐代传统的模式，但法海寺壁画中人物形象又有着明显的时代特征。“一图说破天下事，诸般神灵眼内观”。帝释梵天图是我们了解佛教文化的一个窗口。（点击各图进入详解）",[12,13,14,15,16,17,18,19,20,21,22],"高清","壁画","国画","宗教","工笔","设色","人物","祥云","神兽","神话","华丽服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8069c6224709f156398f01bf2c3e79a0.jpg","高3.2米,长14米","",[],207,3,0,"795548",[32,34,36,38,40,42,44,46,48,50,52],{"name":12,"slug":33},"gao-qing",{"name":13,"slug":35},"bi-hua",{"name":14,"slug":37},"guo-hua",{"name":15,"slug":39},"zong-jiao",{"name":16,"slug":41},"gong-bi",{"name":17,"slug":43},"she-se",{"name":18,"slug":45},"ren-wu",{"name":19,"slug":47},"xiang-yun",{"name":20,"slug":49},"shen-shou",{"name":21,"slug":51},"shen-hua",{"name":22,"slug":53},"hua-li-fu-shi",1777535394652]