摘 要 印度艺术史一般认为，在佛像诞生之前，印度用佛足迹石暗示佛陀。事实上，佛足迹石并未随着佛像出现而消失。以一例被倒置误判的 2～4 世纪东南印度佛足迹石图片为切入点，提出在立面中，东南印度佛足迹石也应当为脚趾朝下的假设，进而对东南印度出土的五例佛足迹石辨别，分别从外围装饰、脚趾朝向、足内三宝标的朝向等三个方面对该假设进行论证。其研究价值在于可以打破现有印度美术史单纯以有无造像来分期的局限，丰富对造像之前时代美术体系的认知，同时确立以西北印度、中印度区域为基本框架的二元美术传统。

关键词 佛足迹朝向;礼足习俗;三宝标;区域风格

引用本文格式 祁姿妤.礼拜看不见的佛陀——2～4 世纪东南印度佛足迹石的朝向分析[J].创意设计源，2021（2）：25-33.

Worshipping the Invisible Buddha

—An Analysis of the Orientation of Buddhist Footprint Stones in Southeast India from the 2nd to 4th Centuries

QI ZIyu

Abstract The history of Indian art generally assumes that the Buddha was implied by the Buddha's footprint stones before the birth of the Buddha statue in the Ancient India. In fact， with the appearing of the Buddha statue， the Buddha footprint stones still alive. Starting from a picture of a 2nd-4th century Southeast Indian Buddha's footprint stone that has been misplaced， this paper firstly， will propose the hypothesis that the Ancient Southeast Indian Buddha's footprint stone in the elevation should also be toe-down. Secondly， it will distinguish the structure of five examples of unearthed Buddhist footprint stones in the Ancient Southeast India from three aspects， that is peripheral decoration， toe orientation， and the orientation of the Triratna in the foot. Finally， the important value of researching the orientation of such materials is that it can break the limitation of dividing the existing Indian art history by whether there are statues or not， and enrich the cognition of the art system before statues. It also establishes the dualistic art traditions based on the framework of the Ancient Northwest India and Central India.

Key Words Buddha's footprint orientation;foot rituals;triratana symbol;regional style

[基金項目]本文系2017年度国家社科艺术学基金青年项目“ 外来艺术样式中国化研究——佛塔、佛像、佛足的中国化”（项目编号： 17CA1781986）阶段性成果。

一、东南印度佛足迹石的研究缘起

（一）一例倒置的佛足迹石

自富歇以来，一般认为在佛像诞生之前（约公元 1 世纪），印度用佛足迹石暗示佛陀[1]。早期经典《长阿含经》《梵网经》中反映早期佛教关于佛陀形象的观点的经文“与大比丘……佛身皆断诸着。常在厥住。诸天及人民悉见。佛般泥洹后不能见也。”由于佛陀已经涅槃，不能被人间的人所看见，因此不用人形表现佛陀[2]68-69。目前，中印度巴尔胡特和桑奇大塔的雕刻中还保存着最早的佛足迹石。