摘要
风神、雷神这一形象在佛经典籍及雕刻绘塑中屡见不鲜,由于史乘文献记载该神灵形象不够明确,导致具象化地表现也不尽相同。西域石窟佛寺古遗址艺术中风神、雷神的出现,当与佛教有一定的关联。佛教传入中原后,在继承外来佛教艺术的基础上,融入了汉魏以来中国传统神仙思想和表现技法,形成了一种新的风格。而风神、雷神形象大量出现在丝绸之路沿线石窟佛寺古遗址各个时期佛教题材的绘画中,是中原文化与佛教文化交汇融合的结果,此时的风雨雷电诸神不再是“自然神”,已然成为佛教的“护法神”了。吐鲁番柏孜克里克第40窟新见“风雷神”,似融风、雷两神于一身,这种独具特色的表现形式,在西域众多石窟,乃至存世石窟佛寺古遗址中都是极为少见的,弥足珍贵。
The image of wind God and thunder God is not uncommon in Buddhist classics and carving and painting.Because the image of this god is not clear enough in historical documents,the concrete per⁃formance is not the same.The appearance of wind gods and thunder gods in the ancient ruins of the Bud⁃dhist temples in the Western regions is related to Buddhism to some extent.After Buddhism was intro⁃duced into the Central Plains,on the basis of inheriting the foreign Buddhist art,it integrated the Chinese traditional celestial thought and expression techniques since the Han and Wei Dynasties and formed a new style.The image of wind god and thunder God appeared in a large number of Buddhist paintings of various periods in the ancient ruins of Buddhist temples along the Silk Road,which was the result of the integration of the Central Plains culture and Buddhist culture.At this time,the gods of wind,rain and lightning were no longer"natural gods",but had become the"protection gods"of Buddhism.The"wind thunder God"is newly discoverd in Cave 40 of Beziklik in Turfan,which is like melting wind and thunder two gods in one.This unique form of expression is extremely rare and precious in many grottoes in the Western regions and even in the ancient ruins of Buddhist temples in the world.
出处
《吐鲁番学研究》
2023年第2期113-127,156,共16页
TURFANOLOGICAL RESEARCH
关键词
西域石窟
佛寺古遗址
摩醯首罗天
风神
雷神
The Western Grottoes
Ancient ruins of Buddhist temples
Māheśvara
The God of Wind
Thor
