翘脚源自古印度婆罗门等外道的苦行方式,通常表现为一脚站立、另一脚后翘或抬起。此种难以长久坚持的特殊动作,因关联释迦成佛前的苦行经历,故而被沿用至犍陀罗佛教艺术,用来表现精进供养和恭敬布施。犍陀罗系统的翘脚图像,经由丝绸之路传入西域,既直观影响了鄯善古国佛寺壁画的创作,又在龟兹古国石窟壁画上取得创造性发展。犍陀罗和西域系统的翘脚图像,还通过河西走廊进入中原北方,既对少量石窟雕刻产生了些许影响,又启发了汉地本土翘脚样式的产生,并衍生出诸多与之相关的佛教词语。翘脚图像在中印佛教艺术中的传播与演变,见证了丝绸之路上多元文化的交流与互动。

The raised-foot posture, originating from ancient Indian ascetic practices, was integrated into Buddhist art due to its association with Shakyamuni’s pre-enlightenment asceticism. In Gandharan art, raised-foot imagery primarily depicted flower garland bearers’ diligent offerings and ascetics’ earnest begging. Through he Silk Road, this imagery spread to the Westem Regions, directly influencing the creation of flower garland bearer figures in Shanshan Kingdom temple murals, and developing more diverse representations in Kucha Kingdom cave murals. Subsequently, raised-foot imagery entered the northern Central Plains through the Hexi Corridor, influencing some cave sculptures and inspiring the creation of native Chinese raised-foot styles. Although raised-foot imagery did not become widely popular in Chinese Buddhist art, its cultural connotations were absorbed, giving rise to multiple related Buddhist terms. The spread and evolution of raised-foot imagery demonstrate the exchange and interaction of diverse cultures along the Silk Road.