摘要
透过对现存敦煌文殊作品的观察,考量其所在位置,归纳作品构成形式与图像元素的发展概况。初唐时,除第220窟外,都见有法华经变作品,说明与法华经关系较密切。盛唐时,狮子图像与初唐一样是最明确的特征,也见有一组后来常见的大菩萨与俗装众随侍以及昆仑奴,但未形成固定模式。昆仑奴的出现,说明佛教造像除以佛经为文本外,亦纳入社会流行的题材。中唐时,与法华经变同时出现的情形减少,见有五台山图的文殊或在背景中加入更多山水云彩表现,应与五台山文殊信仰有关。晚唐时,无论其所在位置或作品组合要素,皆延续中唐发展。五代宋时,增加于阗王驾狮子与善财童子,或佛陀波利与大圣老人的形象。依敦煌写本资料,可知是与中原往来密切有关。
This paper presents a summary of the development of the composition and iconographic elements of the Manjusri images at Dunhuang by studying the extant works and their positions. In the Early Tang period, the image of Manjusri appeared together with the Lotus Sutra illustration except in cave 220, suggesting a close relationship between Manjusri and the Lotus Sutra illustration. In the High Tang dynasty, the lion was the most specific character of the Manjusri images just as it was in the Early Tang period. There was also a group of great bodhisattvas with their followers in secular clothes and the slave of Kurdun, which was not stylized then but common in later periods. The appearance of the slave of Kunlun indicates that Buddhism not only based its images on Buddhist scriptures, but also borrowed popular themes from social life. In the Middle Tang period, the paintings with both Manjusri and the Lotus Sutra illustration decreased, and the appearance of Manjusri together with the map of Mount Wutai, or more landscape added in its background, suggests it was associated with the Manjusri worship in Mount Wutai. In the Later Tang period, the Middle Tang images were followed regardless of their position or the composition. In the Five Dynasties and Song periods, the image of a lion driven by the King of Khotan and the slave of Kunlun or Sudhana were added owing to the close relationship between Dunhuang and the Central Plains, as verified by Dunhuang documents
出处
《敦煌研究》
CSSCI
北大核心
2013年第3期86-102,共17页
Dunhuang Research
关键词
文殊菩萨
法华经变
昆仑奴
五台山
于阗王
善财童子
Manjusri Bodhisattva
Lotus Sutra illustration
Black slaver
Mount Wutai
King of Khotan
Sudhana
