敦煌佛教一直以汉传体系的佛教为主流,随着唐密的兴起,密教逐渐将一些显教的神祇及其功能移植到密教经典中,开始吸收或利用显教的图像内容和构图形式。密教中央法身大日如来化现四方佛的义理与华严毗卢遮那佛化现"十方三世诸如来"的法身思想有一致性,密教五方佛是以大乘经典和图像为基础组织起来的神祇系统,敦煌石窟为我们展示了这一图像发展、演化过程。说明显密结合、显体密用是敦煌密教发展的主流,而敦煌显密五方佛图像的转变就是显体密用的一个典型例证。

Buddhism with Han Chinese characteristics has always constituted the mainstream of Dunhuang Buddhism. With the rise of the Tang Tantra, a few gods of exoteric Buddhism, together with the content and compositions, were absorbed into esoteric Buddhism. The doctrine of the Esoteric Buddhism is that the Buddhas in the four directions are direct emanations from Mahavairocana at the center, consistent with the Huayan sect doctrine, which says that the Buddhas in the ten directions and of the three ages are direct emanations from Mahavairocana. The five-Buddha image in esoteric Buddhism is based on Mahayana scripture and images. Its development has been exhibited in the Dunhuang caves, and this demonstrates that the main trend of esoteric Buddhist art at Dunhuang was the combination of exoteric and esoteric Buddhism as well as the absorption of exoteric Buddhist elements into esoteric Buddhism, well exemplified by the evolution of the five-Buddha image in esoteric Buddhism with Han Chinese ch

如果说大乘佛教代表了佛教哲学发展的最高水平，那么密教则是佛教作为宗教发展的另一高峰。佛顶法是持明密教时期以佛顶部神祇为核心形成的一类密法体系。它继承发展了陀罗尼密教思想，广泛吸收、改造了当时盛行的包括般若性空思想、涅槃佛性思想、弥陀净土思想等在内的主流大乘佛教思想，构建起了较为完备的理论与实践体系，对后期密教理论的形成产生了重要影响。

If Mahayana Buddhism is the highest level of Buddhist philosophy,Tantrism is another peak of Buddhism as a religion.Buddha top doctrines are a tantric system with deities as the core in the time of Chiming Tantrism.It has inherited from and further developed the Dharani Tantrism ide-as,has profoundly absorbed and reformed the prevailing ideas of mainstream Mahayana Buddhism such as highest wisdom,nirvana,amida,and so on.Thus it has constructed quite full theoretical and practical system,and left deep impact upon the formation of late tantric theories.

元前期剧作家郑廷玉精心结撰的讽刺喜剧《看钱奴》包含着极其丰富、深厚的文化意蕴。在前人的研究基础上,细勘元、明刊本,将其文化意蕴归纳为4个方面:对元前期为富不仁、社会不公等罪恶现象的愤怒控诉;深切揭示金钱对人和人类社会的腐蚀;殷切呼唤儒家传统美德;对神佛威力、因果报应等宗教迷信的宣扬。

The satirical comedy Miser,written by Zheng Ting-yu,an early Yuan dramatist,contains ex-tremely abundant and profound connotation.On the basis of the former researches and careful examination of the versions of the Yuan and Ming dynasties,the paper summarizes its cultural connotation as the fol-lowing aspects:a resentful complaint of being rich but immoral,and social inj ustice in the early Yuan Dy-nasty;a deep revelation of the erosion of money on human beings and human society;an ardent calling for the traditional virtues of Confucian school;and an advocate of such religious superstition as power of god and Buddha,and karma.

病痛与治疗是清代理学家窦克勤日常生活的重要内容.作为理学家,他对病痛的认识和治疗,以及对生命的认识,都受到理学观念的影响.他认为,秉持理学观念而形成的精神力量可以战胜病痛;内心的平静及加强道德修养能达到养生的目的,因而将病痛视为成就自我的好事.同时他排斥佛道等借助外在神秘力量疗病与养生的观念.然而,日常生活中窦克勤的行为并不完全符合他的观念,他往往依据实用主义原则对相似的疗病行为采取迥异的态度.此外,他还通过由疗病产生的邀神行为,塑造家族成员的纯孝形象.

Illnesses and treatments are an inevitable part of life in the daily life of the neo-confucianist Dou Ke-qin whose life outlook on the treatment and recognition of diseases was influenced by his neo-confucianist conception.He claimed that diseases can be conquered by spiritual force formed on the basis of Neo-Confucianism and can be recovered by peace of the heartand moral merits and can be seen as an approach of self-accomplishment.He opposed Taoist and Buddhist ideas of life preservation and keeping fit by taking the advantages of external mystic force,and stressed that his own diseases and that of his relatives can be cured by the filial affection advocated by the Neo-Confucianism.