【翻譯練習】泰國佛像風格
Buddha images in Thailand
作者：維基百科
來源：https://en.wikipedia.org/wiki/Buddha_images_in_Thailand
A Buddha image in Thailand typically refers to three-dimensional stone, wood, clay, or metal cast images of the Buddha. While there are such figures in all regions where Buddhism is commonly practiced, the appearance, composition and position of the images vary greatly from country to country.
泰國佛像通常是指由石頭、木頭、陶土、或金屬製成的立體佛像。儘管佛教盛行之處均有佛像，但各國佛像的製作材質與型態姿勢卻有明顯不同。
Dvaravati period 陀羅缽地王朝
During the Dvaravati period (seventh through eleventh centuries), there were two factions of Buddhism practiced in the region that now encompasses present day Thailand, namely Mahayana and Theravada. The types of images constructed during this era reflects the distinction. Much of the basis for the Buddhist artwork of the Dvaravati period was influence from Buddhist art in India, including the Amaravati and Gupta styles, although there was also local and Khmer influence. Such images include the following classical archetypes:
陀羅缽地王朝(7世紀至11世紀)的現今泰國地區，佛教分為二個支派：大乘佛教(北傳佛教)與小乘佛教(南傳佛教)。此時期修造的佛像類型，亦顯示出二種佛教支派的區別。陀羅缽地時期的佛教藝品，其基礎大部分承襲自印度的佛教藝術，包括阿摩羅婆提(Amaravati)與笈多(Gupta)王朝的風格；而有些佛教藝品基礎則受到當地與高棉文化所影響。典型的佛像風格有：
Sri Vijaya images 三佛齊風格
Sri Vijaya images are found in southern Thailand. They were constructed between the eighth and thirteenth centuries. Typically, they reflect the teachings of the Mahayana school of Buddhism. Unlike other Thai Buddha images, Sri Vijaya images were generally made of clay, with less emphasis on durability, as their purpose was to benefit the deceased, rather than perpetuate the teachings of the Buddha.
三佛齊佛像造於8世紀至13世紀之間，集中於泰國南部，通常呈現出大乘佛教的義理。由於三佛齊佛像的用途是為了利益亡者，而非傳承佛陀的教誨，因此一般以陶土製成，較不注重能否長久留存，此點有別於其他泰國佛像。
Lopburi images 華富里風格
Lopburi images date back to the eleventh century. They are typically found in Northeast Thailand, and their style is essentially similar to Cambodian Buddha images. Such images typically have a cone-shaped cranial protuberance in the form of tiers of lotus petals. The hair depicted in the images is considerably more realistic than the hair of the Dvaravati images, and may be either straight or curly. The face of the Buddha typically has a small smile, while the earlobes are in unusually large proportion relative to the rest of the face, often hanging down nearly to the image's shoulders. A second Lopburi style is the Naga Protected Buddha with the heads of Naga forming a protective taper around the Buddha's head.
華富里佛像起於11世紀，常分布於泰國東北部，風格基本上類似柬埔寨佛像。典型的華富里佛像，具有錐形的頂髻(梵語：ushnisha)，狀似層層蓮瓣。華富里佛像的頭髮描繪，比三佛齊佛像更為寫實。佛陀面帶淡淡微笑，耳垂經常佔了臉部很大比例，幾乎垂至佛像的肩膀。另一種華富里佛像為龍神那伽護法之型態，那伽於佛頭後方周圍張成保護傘。
Chiang Saen and Lanna images 清盛與蘭納風格
Chiang Saen and Lanna images were created in northern Thailand between the tenth and thirteenth centuries. Early images were similar to the Pala style Buddha images of India, with lotus bud or orb shaped hair curls, round faces, narrow lips and prominent chests. Such images were usually in the subduing Mara position, cross-legged, with the soles of the Buddha's feet visible. Many later Chiang Saen and Lanna images began to be constructed from crystals and gemstones.
清盛與蘭納佛像造於10至13世紀間的泰國北部。早期佛像類似印度帕拉(Pala)王朝之佛像風格，佛陀螺髻似蓮花苞或圓球，臉部圓潤，唇形較窄，胸膛鼓起。佛像常為降魔姿態，結跏趺坐，足底朝上。許多後期的清盛與蘭納佛像開始採用水晶與寶石材質。
Sukhothai period 素可泰王朝
During the Sukhothai period (fourteenth century), the style of the Thai Buddha images radically changed due to the influx of new ideas from Sri Lankan Buddhism. Buddha images were cast with the intention of depicting superhuman traits of the Buddha, and were designed to express compassion and serenity in posture and facial expression. The Sukhothai period witnessed the innovation of the four modern postures of the Thai Buddha, i.e. walking, standing, sitting and reclining. Images often had a flame-shaped aureole, finely curled hair, a slight smile, broad shoulders and an oval face. A common pose was the subduing Mara, with the Buddha is seated on a plain base. Notable variations within the Sukhothai period include the Kamphaengpet, the Phra Buddha Chinnarat (such as the most famous Chinnarat at Wat Phra Sri Rattana Mahatat Woramahawihan), and the Wat Ta Kuan groups of images.
受到斯里蘭卡佛教傳入的新概念所啟發，泰國佛像風格在素可泰王朝(14世紀)出現劇烈改變。佛像著重於描繪出佛陀超凡入聖的一面，其姿勢與面容意欲表達佛陀的慈悲與平常心。現代泰國佛像的四種姿勢「行」、「住」、「坐」、「臥」，即是創始於素可泰王朝。佛像常有火焰形背光，螺髻緊密排列，嘴角淺揚微笑，肩膀寬厚，臉型橢圓。佛陀盤坐於樸素的平台之上，常見採取降魔姿態。素可泰佛像的著名變異型態，包括甘烹碧型(Kamphaeng Phet，素可泰王朝13~15世紀最重要的城市)、成功佛型(Phra Buddha Chinnarat，例如彭世洛府之帕錫拉達納瑪哈塔寺[Wat Phra Si Rattana Mahathat]的成功佛)、搭觀寺型(Wat Ta Kuan)。
Wat Traimit Golden Buddha, which is a famous tourist attraction in Bangkok, is made in the Sukhothai style, so it may indeed date from that period. Weighing 5.5 tons, this is the biggest statue in the world made from solid gold.
曼谷有名的觀光景點金佛寺(Wat Traimit)，寺內供奉的金佛屬於素可泰風格，合理推測其鑄成於素可泰時期。金佛重5.5噸，是世界上以純金打造的最大尊雕像。
U Thong images 烏通風格
There are three categories of U Thong images from the twelfth through fifteenth century in central Thailand. The first such style was a fusion of the Dvaravati and Khmer style images. They would typically adorn a lotus bud aureole and Khmer facial features. The second style was similar to the Lopburi images. The third and most recent U Thong style had considerable influence from the Sukhothai images, but often had hair bands unique to U Thong images.
烏通佛像出現於12至15世紀的泰國中部，分為三類：第一類是陀羅缽地與高棉風格的融合，一般具有蓮花苞形的背光，且面容帶有高棉風格；第二類與華富里風格類似；第三類是最近期的烏通風格，雖受素可泰佛像影響極鉅，但烏通佛像獨有之處，在於佛陀的髮線與前額之間，有一條明顯的髮帶。
Ayutthaya period 阿育陀耶王朝
Ayutthaya images were created between the tenth and eighteenth centuries. They had a unique hair frame and tell-tale narrow carvings above the lips and eyes. Early Ayutthaya images were carved in stone with heavy influence from the Lopburi images. Middle Ayutthaya images were similar to the Sukhothai images, and were in similar poses. During this period, the images were often cast in Bronze, and the size of the images were often large. In the late Ayutthaya period, the images typically depicted the Buddha in royal attire, and the bases of the images bore ornate design.
阿育陀耶佛像造於10至18世紀之間，其髮型獨特，唇部與眼部上方有著明顯的細刻痕。早期的阿育陀耶佛像以石頭雕刻而成，頗受華富里佛像的影響；中期風格則類似素可泰佛像，姿勢亦相似，此時期常為銅鑄的大型佛像；阿育陀耶王朝晚期的佛像常身穿皇室華服，佛陀金剛座的紋飾華美精緻。
Modern Thai Buddha images 現代泰國風格
In modern times, Buddha images are often replicas of images from the Sukhothai and other early periods, often more ornately and elaborately adorned. Faces in new innovative depictions are typically more realistic and human-like. An elongated flame aureole is popular. Robes depicted in modern images often depict floral designs. The Indian Gandhara style, as well as western art have also influenced many of the modern images.
現代佛像常是素可泰及其他早期風格佛像的復刻，常帶有華麗繁複的裝飾。新的佛像面容一般較為寫實，如同真人。佛像常見細長的火焰形背光。現代佛像的袈裟常出現花紋設計。許多現代佛像亦可注意到印度的犍陀羅(Gandhara)風格與西方藝術的影響。
Bunleua Sulilat's concrete sculpture gardens (Buddha Park and Sala Keoku) give an example of contemporary highly creative and unconventional artistic treatment of Buddhist subjects. See also Wat Rong Khun and Sanctuary of Truth.
泰國雕刻大師本勒阿．素力拉(Bunleua Sulilat)的水泥雕塑公園(寮國的香昆公園[Buddha Park]、泰國廊開府的薩拉基古公園[Sala Keoku])，突顯當代佛教藝術的絕妙創意與自成一格。清萊的白龍寺(Wat Rong Khun)與芭達雅的真理寺(Sanctuary of Truth)亦值得一觀。
作者：維基百科
來源：https://en.wikipedia.org/wiki/Buddha_images_in_Thailand
A Buddha image in Thailand typically refers to three-dimensional stone, wood, clay, or metal cast images of the Buddha. While there are such figures in all regions where Buddhism is commonly practiced, the appearance, composition and position of the images vary greatly from country to country.
泰國佛像通常是指由石頭、木頭、陶土、或金屬製成的立體佛像。儘管佛教盛行之處均有佛像，但各國佛像的製作材質與型態姿勢卻有明顯不同。
Dvaravati period 陀羅缽地王朝
During the Dvaravati period (seventh through eleventh centuries), there were two factions of Buddhism practiced in the region that now encompasses present day Thailand, namely Mahayana and Theravada. The types of images constructed during this era reflects the distinction. Much of the basis for the Buddhist artwork of the Dvaravati period was influence from Buddhist art in India, including the Amaravati and Gupta styles, although there was also local and Khmer influence. Such images include the following classical archetypes:
陀羅缽地王朝(7世紀至11世紀)的現今泰國地區，佛教分為二個支派：大乘佛教(北傳佛教)與小乘佛教(南傳佛教)。此時期修造的佛像類型，亦顯示出二種佛教支派的區別。陀羅缽地時期的佛教藝品，其基礎大部分承襲自印度的佛教藝術，包括阿摩羅婆提(Amaravati)與笈多(Gupta)王朝的風格；而有些佛教藝品基礎則受到當地與高棉文化所影響。典型的佛像風格有：
- Buddha in the Tribhanga (leaning) position with somewhat Indian facial features and no aureole. The right hand is typically free, while the left is depicted grasping the Buddha's robe.
三折肢(tribhanga)姿勢：面容帶有印度特徵，佛像後方無背光。右手一般無持物，左手則緊握袈裟。
三折肢
圖片來源：https://www.pinterest.com/pin/523262050431723160/ - Buddha in the Amaravati style with loosely folded legs and a lotus shaped aureole. Such statues have a continuous eyebrow, a flat nose and thick lips.
阿摩羅婆提風格：雙腿微盤，背光為蓮花苞形。眉毛相連，扁鼻厚唇。
大城府那普拉門寺(Wat Na Phra Men)佛像
圖片來源：http://www.ayutthaya2020.com/watnaphramen-pictures.asp - Square faced cleft chin Buddha with some Khmer features. Legs are typically fully folded. The Buddha sits on a lotus base.
高棉風格：臉型方正，下巴有一條線。佛像常為盤腿姿勢，坐於蓮花座。
Sri Vijaya images 三佛齊風格
Sri Vijaya images are found in southern Thailand. They were constructed between the eighth and thirteenth centuries. Typically, they reflect the teachings of the Mahayana school of Buddhism. Unlike other Thai Buddha images, Sri Vijaya images were generally made of clay, with less emphasis on durability, as their purpose was to benefit the deceased, rather than perpetuate the teachings of the Buddha.
三佛齊佛像造於8世紀至13世紀之間，集中於泰國南部，通常呈現出大乘佛教的義理。由於三佛齊佛像的用途是為了利益亡者，而非傳承佛陀的教誨，因此一般以陶土製成，較不注重能否長久留存，此點有別於其他泰國佛像。
Lopburi images 華富里風格
Lopburi images date back to the eleventh century. They are typically found in Northeast Thailand, and their style is essentially similar to Cambodian Buddha images. Such images typically have a cone-shaped cranial protuberance in the form of tiers of lotus petals. The hair depicted in the images is considerably more realistic than the hair of the Dvaravati images, and may be either straight or curly. The face of the Buddha typically has a small smile, while the earlobes are in unusually large proportion relative to the rest of the face, often hanging down nearly to the image's shoulders. A second Lopburi style is the Naga Protected Buddha with the heads of Naga forming a protective taper around the Buddha's head.
華富里佛像起於11世紀，常分布於泰國東北部，風格基本上類似柬埔寨佛像。典型的華富里佛像，具有錐形的頂髻(梵語：ushnisha)，狀似層層蓮瓣。華富里佛像的頭髮描繪，比三佛齊佛像更為寫實。佛陀面帶淡淡微笑，耳垂經常佔了臉部很大比例，幾乎垂至佛像的肩膀。另一種華富里佛像為龍神那伽護法之型態，那伽於佛頭後方周圍張成保護傘。
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| 華富里佛像 圖片來源：http://www.artgallery.nsw.gov.au/collection/works/156.2002.a-b/ |
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| 龍神那伽護法 圖片來源：http://www.asianart.com/xanadu/gallery5/15.html |
Chiang Saen and Lanna images 清盛與蘭納風格
Chiang Saen and Lanna images were created in northern Thailand between the tenth and thirteenth centuries. Early images were similar to the Pala style Buddha images of India, with lotus bud or orb shaped hair curls, round faces, narrow lips and prominent chests. Such images were usually in the subduing Mara position, cross-legged, with the soles of the Buddha's feet visible. Many later Chiang Saen and Lanna images began to be constructed from crystals and gemstones.
清盛與蘭納佛像造於10至13世紀間的泰國北部。早期佛像類似印度帕拉(Pala)王朝之佛像風格，佛陀螺髻似蓮花苞或圓球，臉部圓潤，唇形較窄，胸膛鼓起。佛像常為降魔姿態，結跏趺坐，足底朝上。許多後期的清盛與蘭納佛像開始採用水晶與寶石材質。
Sukhothai period 素可泰王朝
During the Sukhothai period (fourteenth century), the style of the Thai Buddha images radically changed due to the influx of new ideas from Sri Lankan Buddhism. Buddha images were cast with the intention of depicting superhuman traits of the Buddha, and were designed to express compassion and serenity in posture and facial expression. The Sukhothai period witnessed the innovation of the four modern postures of the Thai Buddha, i.e. walking, standing, sitting and reclining. Images often had a flame-shaped aureole, finely curled hair, a slight smile, broad shoulders and an oval face. A common pose was the subduing Mara, with the Buddha is seated on a plain base. Notable variations within the Sukhothai period include the Kamphaengpet, the Phra Buddha Chinnarat (such as the most famous Chinnarat at Wat Phra Sri Rattana Mahatat Woramahawihan), and the Wat Ta Kuan groups of images.
受到斯里蘭卡佛教傳入的新概念所啟發，泰國佛像風格在素可泰王朝(14世紀)出現劇烈改變。佛像著重於描繪出佛陀超凡入聖的一面，其姿勢與面容意欲表達佛陀的慈悲與平常心。現代泰國佛像的四種姿勢「行」、「住」、「坐」、「臥」，即是創始於素可泰王朝。佛像常有火焰形背光，螺髻緊密排列，嘴角淺揚微笑，肩膀寬厚，臉型橢圓。佛陀盤坐於樸素的平台之上，常見採取降魔姿態。素可泰佛像的著名變異型態，包括甘烹碧型(Kamphaeng Phet，素可泰王朝13~15世紀最重要的城市)、成功佛型(Phra Buddha Chinnarat，例如彭世洛府之帕錫拉達納瑪哈塔寺[Wat Phra Si Rattana Mahathat]的成功佛)、搭觀寺型(Wat Ta Kuan)。
Wat Traimit Golden Buddha, which is a famous tourist attraction in Bangkok, is made in the Sukhothai style, so it may indeed date from that period. Weighing 5.5 tons, this is the biggest statue in the world made from solid gold.
曼谷有名的觀光景點金佛寺(Wat Traimit)，寺內供奉的金佛屬於素可泰風格，合理推測其鑄成於素可泰時期。金佛重5.5噸，是世界上以純金打造的最大尊雕像。
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| 金佛寺的金佛 圖片來源：http://www.bangkok.com/attraction-temple/wat-raimit.htm |
U Thong images 烏通風格
There are three categories of U Thong images from the twelfth through fifteenth century in central Thailand. The first such style was a fusion of the Dvaravati and Khmer style images. They would typically adorn a lotus bud aureole and Khmer facial features. The second style was similar to the Lopburi images. The third and most recent U Thong style had considerable influence from the Sukhothai images, but often had hair bands unique to U Thong images.
烏通佛像出現於12至15世紀的泰國中部，分為三類：第一類是陀羅缽地與高棉風格的融合，一般具有蓮花苞形的背光，且面容帶有高棉風格；第二類與華富里風格類似；第三類是最近期的烏通風格，雖受素可泰佛像影響極鉅，但烏通佛像獨有之處，在於佛陀的髮線與前額之間，有一條明顯的髮帶。
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| 佛陀的髮線與前額之間，有一條明顯的髮帶 圖片來源：http://www.shakris.com/categories/ithai.html |
Ayutthaya period 阿育陀耶王朝
Ayutthaya images were created between the tenth and eighteenth centuries. They had a unique hair frame and tell-tale narrow carvings above the lips and eyes. Early Ayutthaya images were carved in stone with heavy influence from the Lopburi images. Middle Ayutthaya images were similar to the Sukhothai images, and were in similar poses. During this period, the images were often cast in Bronze, and the size of the images were often large. In the late Ayutthaya period, the images typically depicted the Buddha in royal attire, and the bases of the images bore ornate design.
阿育陀耶佛像造於10至18世紀之間，其髮型獨特，唇部與眼部上方有著明顯的細刻痕。早期的阿育陀耶佛像以石頭雕刻而成，頗受華富里佛像的影響；中期風格則類似素可泰佛像，姿勢亦相似，此時期常為銅鑄的大型佛像；阿育陀耶王朝晚期的佛像常身穿皇室華服，佛陀金剛座的紋飾華美精緻。
Modern Thai Buddha images 現代泰國風格
In modern times, Buddha images are often replicas of images from the Sukhothai and other early periods, often more ornately and elaborately adorned. Faces in new innovative depictions are typically more realistic and human-like. An elongated flame aureole is popular. Robes depicted in modern images often depict floral designs. The Indian Gandhara style, as well as western art have also influenced many of the modern images.
現代佛像常是素可泰及其他早期風格佛像的復刻，常帶有華麗繁複的裝飾。新的佛像面容一般較為寫實，如同真人。佛像常見細長的火焰形背光。現代佛像的袈裟常出現花紋設計。許多現代佛像亦可注意到印度的犍陀羅(Gandhara)風格與西方藝術的影響。
Bunleua Sulilat's concrete sculpture gardens (Buddha Park and Sala Keoku) give an example of contemporary highly creative and unconventional artistic treatment of Buddhist subjects. See also Wat Rong Khun and Sanctuary of Truth.
泰國雕刻大師本勒阿．素力拉(Bunleua Sulilat)的水泥雕塑公園(寮國的香昆公園[Buddha Park]、泰國廊開府的薩拉基古公園[Sala Keoku])，突顯當代佛教藝術的絕妙創意與自成一格。清萊的白龍寺(Wat Rong Khun)與芭達雅的真理寺(Sanctuary of Truth)亦值得一觀。