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中一級 中國歷史科 教學設計示例 (供收錄非華語學生的學校參考使用)
石窟藝術與中外文化交流 一. 建議教節：2 節
二. 預期學習成果：
完成本課題後，學生能：
1. 認識印度石窟藝術的產生和東傳。(知識內容)
2. 認識佛教造像的特色(以北魏初期雲岡石窟第 20 窟為例)。(知識內容) 3. 認識佛教雕刻的特色(以北魏後期賓陽洞中洞石窟為例)。(知識內容) 4. 認識佛教壁畫的特色(以西魏敦煌莫高窟第 285 窟為例)。(知識內容) 5. 透過閱讀文字資料、地圖、圖像等，分析史事。(知識內容、技能) 6. 學習尊重不同的文化。(情意、態度)
三. 教學建議：
1. 因應非華語學生的中文能力，工作紙較多圖像，部分題目輔以英文，協 助學生理解內容。
2. 題型包括選擇、短答等，思考題可以口語回答。
3. 教師可按學生學習情況加入討論環節，以增加學生之間的互動。
4. 教師教授課題時，除教授相關史實外，亦須指導學生認識中國的文明和 文化，促進他們認識中國文化的特質。
5. 教師可因應學生的程度而選取適合的部分或教學活動施教。
四. 教學方案：
內容重點 流程
課節一 (1 節)：
印度石窟藝術與佛教造像
1. 講解關鍵詞；
2. 透過地圖及其他資料，帶出以下重 點：
- 印度石窟藝術的產生和東傳；
- 佛教造像的特色(以北魏初期雲岡 石窟為例)。
課節二 (1 節)：
佛教雕刻與佛教壁畫
1. 透過歷史文物、圖像及其他資料，
帶出以下重點：
- 佛教雕刻的特色(以北魏後期賓陽 洞石窟為例)；
- 佛教壁畫的特色(以西魏敦煌莫高 窟為例)。
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備註：
1. 學校可參考本教材，並按學生的需要，以調適課程；
2. 可因應學生的中文程度刪去或減少當中的英文句子或詞彙；
3. 可同時參考課程發展處所出版的其他教材或為本調適課綱準備的其他示 例；
4. 可考慮向學生提供更多全方位學習的經驗如到內地考察、參觀博物館等 等。
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XXX 中學
中一級 中國歷史科課堂工作紙 石窟藝術與中外文化交流
(Fine Art in Grottoes and Cultural Exchange between China and Foreign Countries)
姓名 Name：
_________________________
成績 Grade：
_________________________
班別 Class：
__________________( )
批改日期 Date of Marking：
____________
學習重點：
1. 認識印度石窟藝術的產生和東傳 (To know the creation and the eastward spread of Indian fine art in grottoes)
2. 認識佛教造像的特色(以北魏初期雲岡石窟為例) (To know the features of Buddhist sculptures (exemplified by Yungang Grottoes from the early
Northern Wei Dynasty))
3. 認識佛教雕刻的特色(以北魏後期賓陽洞石窟為例)(To know the features of Buddhist carvings (exemplified by Binyang Cave Grottoes from the late Northern Wei Dynasty))
4. 認識佛教壁畫的特色(以西魏敦煌莫高窟為例)(To know the features of Buddhist murals (exemplified by Mogao Grottoes from the Western Wei Dynasty))
一. 本節關鍵詞 (Key Terms)
英文詞彙 中文詞彙/粵語拼音 中文詞彙/普通話拼音
1 Yungang Grottoes 雲岡石窟(wan4 gong1 sek6 fat1)
雲岡石窟(yún gāng shí kū)
2 Binyang Cave Grottoes
賓陽洞石窟(ban1 joeng4 dung6 sek6 fat1)
賓陽洞石窟(bīn yáng dòng shí kū)
3 Mogao Grottoes 莫高窟(mok6 gou1 fat1)
莫高窟(mò gāo kū) 4 Buddhist ideologies 佛學(fat6 hok6) 佛學(fó xué)
5 The Silk Road 絲綢之路(si1 cau4 zi1 lou6)
絲綢之路(sī chóu zhī lù)
6 Dunhuang 敦煌(deon1 wong4) 敦煌(dūn huáng) 7 Luoyang 洛陽(lok3 joeng4) 洛陽(luò yáng) 8 Datong 大同(daai6 tung4) 大同(dà tóng) 9 sculptures 雕塑(diu1 sou3) 雕塑(diāo sù) 10 Bas-relief 浮雕(fau4 diu1) 浮雕(fú diāo)
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11 mural 壁畫(bik1 waa6) 壁畫(bì huà) 二. 本節概要 (Key Points of the Chapter)
1. 公元一世紀前後，印度的佛教經 絲綢之路傳入了中國。
Indian Buddhism was introduced to China through the Silk Road around the 1st century B.C.
2. 南北朝至唐朝之間，佛教非常鼎 盛，佛教徒在一些地方開鑿石窟。
Buddhism flourished during the Southern and Northern Dynasties and the Tang Dynasty. Buddhist monks excavated grottoes in several places.
3. 佛教傳播的方法是利用連環畫講 說佛經的故事。
A way of spreading Buddhism was illustrating stories from Buddhist scriptures through consecutive drawings.
4. 佛教其中一個中心思想是因果報 應，而這個思想亦成為中國社會 的價值觀。
A core idea in Buddhism was the
emphasis on causal relationships, which became a Chinese social value later.
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課節一：印度石窟藝術與佛教造像 (Indian fine art in grottoes and Buddhist
sculptures)
一. 印度石窟藝術的產生和東傳 (The creation and the eastward spread of
Indian fine art in grottoes)
資料一：印度阿旃陀石窟 (Source A: The Ajanta Caves in India)
石窟，亦稱石窟寺，是一種依山開鑿的佛教寺院，源於印度。僧侶在遠 離城市的山林中開鑿石窟，過著清淨修行的生活。(The grotto, also known as a cave temple, was a type of Indian Buddhist temple constructed on the side of mountains. Monks excavated grottoes in mountain forests far away from cities and enjoyed their religious life there.)
阿旃陀石窟（Ajanta Caves），是一個位於印度的石窟羣，大概建於公元 前 2 世紀至公元後 7 世紀期間，是目前印度最大的石窟遺址。(The Ajanta Caves are the largest existing group of Indian Buddhist cave monuments, approximately built between 2nd century B.C. to 7th century A.D.)
(圖片來源：Wikipedia: Ajanta Caves) 資料二：印度石窟 (Source B: Indian grottoes)
印度石窟分為兩類。(There were two types of Indian grottoes.)
一是「昆訶羅」(Vihara)，也叫精舍、僧房，為僧人提供住宿地方，也設 有廣闊的空間讓他們聚集一起討論佛學。(The Vihara contained
dormitories and a large place of assembly to discuss Buddhist ideologies among monks.)
另一種是「制底」(Caitya)，不提供住宿，主要是僧人集會和討論佛學的 場所。場所的盡頭一般建有佛像或佛塔，供僧人禮拜之用。(The Caitya was primarily an assembly place for monks to discuss Buddhist ideologies without dormitories. A stupa or Buddhist pagoda was usually built at the end for worship.)
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這是昆訶羅，是阿旃陀石窟的第 12 窟，約建於公元前 2-1 世紀，每個小 房間有兩張石床。(This was a Vihara, located in the 12th cave of Ajanta, constructed around 2nd -1st century B.C. There are two stone beds in each room.)
(圖片來源：Wikipedia: Ajanta Caves)
這是制底，位於阿旃陀石窟的第 10 窟，約建於公元前 1 世紀。(This was a Caitya, located in the 10th cave of Ajanta, constructed around 1st century B.C.)
(圖片來源：Wikipedia: Ajanta Caves) 僧人集會的地方(Place of assembly) 供僧人住宿的小房間(Dormitory cells)
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資料三：佛教城市 (Source C: Buddhist cities)
公元一世紀前後，印度的佛教經絲綢之路傳入了中國。(Indian Buddhism was introduced to China through the Silk Road around the 1st century
B.C.)
沿絲綢之路因而出現了四個佛教城市，分別是：敦煌、龜茲、于闐和 長安。(Four Buddhist cities, Dunhuang, Qiuci, Khotan and Chang’an emerged along the Silk Road.)
(圖片來源：《敦煌：說不完的故事》(香港文化博物館教育小冊子)
1. 請你填上這四個城市的名稱。(Please fill in the respective city names in the blanks.)
1 長安 (Chang’an)
2 敦煌 (Dunhuang)
3 于闐 (Khotan)
4 龜茲 (Qiuci)
1 2
3 4
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資料四：三大石窟所在城市 (Source D: The sites of three grottoes)
南北朝至唐朝之間，佛教非常鼎盛。佛教徒在一些地方開鑿石窟。其中有三個石窟特別有名 (Buddhism flourished during the Southern and Northern Dynasties and the Tang Dynasty. Buddhist monks excavated grottoes in several places, and three of them became very famous)：
i. 雲岡石窟（北魏），位於大同。(Yungang Grottoes (constructed in Northern Wei Dynasty), located in Datong.)
ii. 龍門石窟（北魏至唐），位於洛陽。(Longmen Grottoes (constructed from the Northern Wei Dynasty to the Tang Dynasty), located in Luoyang.)
iii. 莫高窟（唐代為主），位於敦煌。(Mogao Grottoes (mainly constructed in Tang Dynasty), located in Dunhuang.)
于闐 鄯善
敦煌
廬山 長安
大同
洛陽
建康
莫高窟 (Mogao Grottoes)
雲岡石窟 (Yungang Grottoes)
龍門石窟 (Longmen
Grottoes)
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于闐 Khotan 大同 Datong
鄯善 Shanshan 洛陽 Luoyang
敦煌 Dunhuang 建康 Jiankang
長安 Chang’an 廬山 Lushan
(圖片來源：稲畑耕一郎監修，劉煒編，羅宗真著，住谷孝之訳，《魏晋南北朝 : 融合する文明》。大阪 : 創元社 2005，頁 156)
2. 請你用筆把地圖上三大石窟的所在城市標示出來。(Please circle the above three cities on the map.)
3. 三大佛教石窟中，雲岡石窟和龍門石窟分別建於北魏鮮卑政權的初期及後期的首都。請你在下表適當的位置填上資料 (Among the three major Buddhist grottoes, the Yungang and Longmen Grottoes were constructed in the capital of the early and late Northern Wei Dynasty respectively. Please fill in the table below)：
石窟名稱(Name of the grotto) 所在城市(Located city) 首都所屬時期(Period of Capital) 雲岡石窟(Yungang Grottoes) 大同(Datong) 北魏初期(Early Northern Wei Dynasty) 龍門石窟(Longmen Grottoes) 洛陽(Luoyang) 北魏後期(Late Northern Wei Dynasty) 由此可見北魏政權深受佛教的影響。(This demonstrates the huge influence of Buddhism on the Northern Wei regime.)
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二. 佛教造像—雲岡石窟為例 (Buddhist sculptures—Exemplified by the
Yungang Grottoes)
資料五：雲岡石窟及北魏皇帝 (Source E: Yungang Grottoes and emperors
of the Northern Wei Dynasty)
山西省大同市是中國其中一個佛教重鎮，它是北魏最初五個皇帝的首 都，當時叫做平城。北魏是鮮卑人建立的政權，族人大多篤信佛教。善 信花費巨大人力物力，依山開鑿大型佛像，形成一個個石窟，供人參拜。
這就是目前的雲岡石窟。(Datong city in Shanxi Province was one of the most important Buddhist cities in China. It was the capital of the first five emperors of the Northern Wei Dynasty and was called Ping Cheng. As the Northern Wei Dynasty was established by Xianbei people, who greatly believed in Buddhism, a considerable sum of money and manpower was invested to excavate Buddhist sculptures and numerous grottoes for worship on the sides of mountains. This image shows the Yungang Grottoes of
today.)
(圖片來源：維基百科‧雲岡石窟，第 19 和 20 窟)
1. 道武帝(Emperor Daowu) 386-409 7. 宣武帝(Emperor Xuanwu) 499-515 2. 明元帝(Emperor Mingyuan) 409-423 8. 孝明帝(Emperor Xiaoming) 515-528 3. 太武帝(Emperor Taiwu) 423-452 9. 孝莊帝(Emperor Xiaozhuang) 528-530 4. 文成帝(Emperor Wencheng) 452-465 10. 節閔帝(Emperor Jiemin) 531
5. 獻文帝(Emperor Xianwen) 465-471 11. 廢帝(Abolished emperor) 531-532 6. 孝文帝(Emperor Xiaowen) 471-499 12. 孝武帝(Emperor Xiaowu) 532-534
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資料六：雲岡第 20 窟 (Source F: The 20th grotto in Yungang) 石窟建築的主體是佛像雕塑。(Buddhist sculptures were the major components of the grottoes’ construction.)
名稱：雲岡石窟 (Name: Yungang Grottoes)
規模：洞窟 53 個，造像 5 萬餘尊 (Scale: 53 grottoes and more than 50,000 sculptures)
地點：山西省大同（北魏初期首都平城）(Datong city, Shanxi province (capital of the early Northern Wei Dynasty))
時間：北魏初期（AD 386-471）(From the early Northern Wei Dynasty (A.D. 386-471))
(圖片來源：維基百科‧雲岡石窟，第 19 和 20 窟)
4. 活動：同學請參考遊客與佛像的比例，猜猜佛像的高度：(Activity:
With reference to the ratio of the tourists to the Buddhist sculpture, the height of the sculpture is:)
A. 8.2 米 (8.2 m) B. 13.7 米 (13.7 m) C. 32.5 米 (32.5 m) 答案(Answer): B
雲岡第 20 窟(The 20th grotto in Yungang)
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5. 課堂討論：古代的人為什麼花費龐大的人力和財力來建造這麼巨大的佛 像？（可選多於一項）(Class discussion: Why would the ancient people spend a huge sum of money and manpower in constructing such enormous sculptures? (you can choose more than one answer))
✓ 造像者表示對佛的尊敬 (To show respect to the Buddha)
吸引遊客到來消費 (To attract tourists to increase consumption)
✓ 巨大的佛像可顯示佛的偉大 (To show the greatness of Buddha by the enormous size of the sculptures)
✓ 讓遠距離的信眾也可以看到佛像 (To allow Buddhist believers to see the Buddhist sculptures at further distances)
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資料七：雲岡石窟的雕塑 (Source G: The sculptures of Yungang Grottoes)
石窟的主體雕塑是「主佛」。很多時候工匠會在主佛的周圍增置其他佛
像，以襯托主佛的形象。(The major sculpture of grotto was the ‘main Buddha’. Usually, artisans would construct other Buddhist sculptures nearby to highlight the main Buddha.)
6. 在這個石窟中，主佛是釋迦牟尼，請把他圈出來。(In this grotto, the main Buddha was the Gautama Buddha, please try to circle it.)
原像已毀 (The original sculpture was destroyed)
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課節二：佛教雕刻與佛教壁畫 (Buddhist carvings and Buddhist murals)
一. 佛教雕刻—龍門石窟之賓陽洞為例 (Source A: Buddhist Carvings—Exemplified by Binyang Cave of the Longmen
Grottoes)
資料一：龍門石窟 (Source A: Longmen Grottoes)
名稱：龍門石窟 (Name: Longmen Grottoes)
規模：洞窟 2,100 個，造像 10 萬餘尊 (Scale: 2100 grottoes and more than 100,000 sculptures)
地點：河南省洛陽 (Location: Luoyang, Henan province)
時間：北魏至唐 (Dating: From Northern Wei Dynasty to the Tang Dynasty)
(圖片來源：《維基百科》龍門石窟)
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資料二：賓陽洞石窟及北魏皇帝 (Source B: Binyang Cave Grottoes and
emperors of the Northern Wei Dynasty)
在龍門石窟羣中，賓陽中洞是比較早期的建築。(The Middle Binyang Cave was a relatively early construction among all the Longmen Grottoes.) 公元 493 年，篤信佛教的北魏孝文帝從平城（今山西大同）遷都洛陽，
洛陽也因此成為新的佛教中心。（唐初的著名和尚玄奘法師便是洛陽
人）(In A.D. 493, the Buddhist Emperor Xiaowen of the Northern Wei Dynasty moved his capital from Ping Cheng (present-day Datong in Shanxi Province) to Luoyang, making Luoyang a new Buddhist centre. (The
famous monk Xuanzang in the early Tang Dynasty was born in Luoyang)) 公元 499 年，北魏宣武帝繼位，用了 24 年時間，為父母孝文帝和文昭 皇太后營造了賓陽中洞石窟。到了隋唐時期，在賓陽中洞的左右方加 建了賓陽南洞和賓陽北洞。(In A.D. 499, Emperor Xuanwu of the
Northern Wei Dynasty constructed the Middle Binyang Cave for his parent, Emperor Xiaowen and Empress Dowager Wenzhao over the period from 500 to 523. The North and South Binyang Caves were built during the Sui and Tang dynasties.)
(圖片來源：劉景龍，《賓陽洞—龍門石窟第 104、140、159 窟》，北京：文 物出版社，2010 年，頁 29。)
賓陽南洞 (South Binyang Cave)
賓陽中洞 (Middle Binyang Cave)
賓陽北洞 (North Binyang Cave)
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1. 道武帝(Emperor Daowu) 386-409 7. 宣武帝(Emperor Xuanwu) 499-515 2. 明元帝(Emperor Mingyuan) 409-423 8. 孝明帝(Emperor Xiaoming) 515-528 3. 太武帝(Emperor Taiwu) 423-452 9. 孝莊帝(Emperor Xiaozhuang) 528-530 4. 文成帝(Emperor Wencheng) 452-465 10. 節閔帝(Emperor Jiemin) 531
5. 獻文帝(Emperor Xianwen) 465-471 11. 廢帝(Abolished emperor) 531-532 6. 孝文帝(Emperor Xiaowen) 471-499 12. 孝武帝(Emperor Xiaowu) 532-534
資料三：賓陽中洞 (Source C: The Middle Binyang Cave) 藝術特色 (Artistic features)：
窟內壁面沒有空白，全被雕刻所佔滿。(The cave was fully occupied with sculptures.)
利用佛像的大小和位置，突顯了釋迦牟尼佛的重要性。(The size and location of the Gautama Buddha emphasized its importance.)
而在這些佛像的前面兩方牆壁，則是兩幅大型的浮雕作品。（見以下資料）
(Two giant bas-reliefs were carved on walls in front of these Buddhist sculptures (see the sources below).)
(圖片來源：劉景龍，《賓陽洞—龍門石窟第 104、140、159 窟》，頁 40。)
釋迦牟尼佛 (The Gautama Buddha)
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資料四：前壁浮雕—孝文帝與文昭皇后 (Source D: Bas-reliefs on the front
walls—Emperor Xiaowen and Empress Dowager Wenzhao)
在賓陽中洞的前壁，分別雕刻了孝文帝和皇后的禮佛圖，象徴了皇帝和皇 后親自來到這個石窟寺禮拜釋迦牟尼佛。(Bas-reliefs of Emperor Xiaowen and Empress Dowager Wenzhao’ imperial processions to worship the Buddha were carved on the front walls of the Middle Binyang Cave. It represented their worship to the Gautama Buddha in the grotto.)
(圖片來源：中國科學院自然科學史研究所編《中國古代建築技術史》上，
賓陽中洞 (The Middle Binyang Cave)
文昭皇后禮佛圖 (Empress Dowager Wenzhao’s imperial procession to worship the Buddha)
孝文帝禮佛圖 (Emperor Xiaowen’s imperial procession to
worship the Buddha)
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北京：中國建築工業出版社，2016。/ 劉景龍，《賓陽洞—龍門石窟第 104、
140、159 窟》，引自水野清一、長廣敏雄《龍門石窟の 研究》，座右寶刊行 會，1941。)
資料五：文昭皇后禮佛圖及浮雕 (Source E: Empress Dowager Wenzhao’s
imperial procession to worship the Buddha and the bas-relief)
文昭皇后是宣武帝的母親高照容。她本是孝文帝的妃嬪，地位低下。
499 年孝文帝逝世，宣武帝繼位後，便追尊親母為文昭皇太后。於是到 了宣武帝建築賓陽中洞的時候，便自然地將母親刻畫成孝文帝時的皇 后一樣。(Empress Wenzhao was Emperor Xuanwu’s mother, Gao
Zhaorong. She was initially a low-status concubine of Emperor Xiaowen.
After succeeding to the throne, Emperor Xuanwu made his mother the Empress Dowager Wenzhao. Thus, he portrayed his mother in a similar way to the Empress of Emperor Xiaowen when building the Middle Binyang Cave.)
1. 浮雕中有兩位穿著華麗服飾的婦人，你猜哪一位是文昭皇后？請把她圈 出來。(There are two women wearing elegant clothing in the bas-reliefs.
Which one was Empress Wenzhao? Try to circle her on the picture.)
浮雕已經流失海外，現藏於美國密蘇里州堪薩 斯城的納爾遜-阿特金斯美術館。(This bas-relief is now in the Nelson-Atkins Museum of Art, located in Kansas City, Missouri, United States.)
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資料六：孝文帝禮佛浮雕 (Source F: The bas-relief of Emperor Xiaowen’s imperial procession to worship the Buddha)
孝文帝正率領羣朝前來禮佛，圖中他正親自燃點侍者捧著的香料。此浮雕也流失海外，現藏於美國紐約大都會博物館。
(Emperor Xiaowen was leading his officials to worship the Buddha. In the picture below, he is igniting the spices held by his servant. This bas-relief is now in the Metropolitan Museum of Art, located in the New York City.)
2. 請你把孝文帝圈出來。(Please try to circle Emperor Xiaowen.)
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二. 佛教壁畫—敦煌莫高窟為例 (Buddhist Murals—Exemplified by the Mogao Grottoes) 資料七：莫高窟及其位置 (Source G: Mogao Grottoes and the location)
名稱：莫高窟 (Name: Mogao Grottoes)
規模：洞窟 1000 多個，造像 2400 多尊 (Scale: more than 1000 grottoes and 2400 sculptures) 地點：甘肅省敦煌市 (Location: Dunhuang city, Gansu province)
時間：隋唐時期為主，也有不少是魏晉南北朝時代的 (Dating: Mainly from the Sui and Tang Dynasty, and some from the Wei, Jin, Southern and Northern Dynasties)
全景(Panorama) 近觀 (Close-up)
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3. 莫高窟位於今天中國的甘肅省敦煌市，那麼下圖的 A 和 B，那個是甘 肅省？那個是敦煌市？(The Mogao Grottoes are in the present-day Dunhuang city, Gansu province. Which of the below, A and B, refer to Gansu province and Dunhuang city respectively?)
A: 甘肅省 (Gansu province) B: 敦煌市 (Dunhuang city)
B
A
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資料八：敦煌莫高窟第 285 窟 (Source H: The 285th grotto in Mogao)
佛教傳播的方法是利用連環畫講說佛經的故事。這個石窟中便繪畫了古印度的五百強盜故事，繪畫時間是西魏大統四至 五年（公元 538-539）(A way of spreading Buddhism was illustrating stories from Buddhist scriptures through consecutive drawings. This grotto depicted a story of 500 robbers in ancient India. It was drawn around A.D. 538-539.)
敦煌 Dunhuang
西魏 Western Wei Dynasty 東魏 Eastern Wei Dynasty
梁 Liang Dynasty 西魏
（535-557）
東魏
梁 敦
煌
五百強盜成佛因緣圖 (Illustration of the
“enlightenment of 500 robbers”)
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資料九：五百強盜成佛因緣圖（之一）(Source I: Illustration of the enlightenment of 500 robbers (part 1))
1. 五百強盜佔山為王，國王派出軍隊
（騎兵）征剿。(500 robbers occupied mountains and crowned themselves as kings. The emperor sent out armies (cavalries) to conquer them.)
2. 五百強盜戰 敗被俘。(The robbers were defeated and captured.)
3. 國王在殿堂上進行審判，五百強盜被脫去衣 服，受剜眼酷刑。(The Emperor set up a trial in his palace, removed the clothes of the robbers and
gouged out their eyes.)
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資料十：五百強盜成佛因緣圖（之二）(Source J: Illustration of the enlightenment of 500 robbers (part 2))
4. 五百強盜雙 目失明，被放逐 山林，發出悲慘 的哀嚎。(The robbers were blind and exiled to mountains and forests.
They yelled miserably.)
5. 佛祖聽到哀嚎，心有不忍，用神 力將靈藥吹入五百強盜的眼中，讓 他們雙眼復明。(A Buddha
sympathized with them and helped them recover from blindness.)
6. 佛祖給五百強盜講經說 法，眾強盜去惡從善，皈依為 佛門弟子。(The Buddha lectured those robbers on Buddhist scriptures and turned them into Buddhists.)
7. 這五百佛門弟子深山修 行。(The 500 robbers adopted a religious life.)
參考：
1. 香港文化博物館 2018 年展覽—<數碼敦煌—天上人間故事>。
2. 《神遊千年，大美敦煌》https://zhuanlan.zhihu.com/p/75197397（造訪 2019.12.29）
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4. 佛教其中一個中心思想是因果報應，而這個思想亦成為中國社會的價值 觀。你能從<五百強盜成佛因緣圖>說明一下什麼是因果報應嗎？(A core idea in Buddhism was the emphasis on causal relationships, which became a Chinese social value later. According to the “Illustration of the enlightenment of 500 robbers”, can you explain what does causal relationship mean?)
- 答案：五百強盜作惡多端，這是“因”；而他們後來都失明，這是“果”。
(Answer: The “cause” was the evil acts of the robbers, and the “result” was that all the robbers became blind.)
總結 (Conclusion)：
5. 佛教石窟藝術的元素：大體可分為（1）石窟本身的建築；（2）佛教造像；
（3）佛教雕刻；和（4）佛教壁畫。以下是相關的連線遊戲。(The elements of the Buddhist grotto art can be roughly divided into four categories: (1) Grotto architecture, (2) Buddhist statues, (3) Buddhist engravings, and (4) Buddhist murals. Connect the labels below with the appropriate image.)
石窟 (Grotto)
佛像 (Buddhist Statue)
壁畫 (Mural)
雕刻 (Engraving)
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如對本教材有任何意見，可聯絡課程發展處個人、社會及人文教育組：
黃浩明先生（erichmwong@edb.gov.hk; 35406829）或 羅嘉恩女士（lokayan@edb.gov.hk; 28925882）
發佈日期：18/1/2022
