CAJ | 학술논문

佛传故事龙浴太子形象在北朝时期的西域、中原及北方佛教造像碑、石窟寺中比较常见，这是运用图像宣扬佛教的一种形式，具有一定的时代性和地域特点。从该图像中太子与龙的形象演变能够看出曾经受到犍陀罗艺术的影响，并逐渐与汉文化因素相融合。根据与龙浴太子形象并存的佛像主尊和其他佛像身份变化，体现出佛教信仰由小乘向大乘的转变，符合当时战乱频仍状况下人们希冀社会安定的心理需求。
불전고사룡욕태자형상재북조시기적서역、중원급북방불교조상비、석굴사중비교상견，저시운용도상선양불교적일충형식，구유일정적시대성화지역특점。종해도상중태자여룡적형상연변능구간출증경수도건타라예술적영향，병축점여한문화인소상융합。근거여룡욕태자형상병존적불상주존화기타불상신빈변화，체현출불교신앙유소승향대승적전변，부합당시전란빈잉상황하인문희기사회안정적심리수구。
The image of the nagas spraying water over Siddhartha, a theme very common in the Western Regions, Central Plains, Buddhist cave temples and steles in north China during the Northern Dynasties, is a visual form intended to preach Buddhism, which exhibits characteristics of various times and regions. The development of the pictures of Siddhartha with the nagas suggests the images were first influenced by Gandharan art and gradually absorbed elements from traditional Chinese culture. The changes in the central Buddha and surrounding Buddhas and nagas spraying water over Siddhartha indicate a transition from Hinayana Buddhism to Mahayana. This change to Mahayana Buddhism seems consistent with the psychological needs of a time when the common people wished for social stability in the chaos of wars.