风俗画时兴背景下西夏千手观音的图式之变  

The Change of Xixia Dynasty Thousand-handed Avalokitesvara Schema under the Background of Popular Genre painting

作　　者：王胜泽[1] Wang Shengze(Ningxia University)

机构地区：[1]宁夏大学

出　　处：《丝绸之路研究集刊》2020年第1期367-375,483,共10页Journal of the Silk Road Studies

基　　金：宁夏哲学社会科学(艺术学)项目“西夏绘画与文创产品设计研究”(19NXYBCDF03);教育部哲学社会科学重大委托项目“西夏多元文化及其历史地位研究”(16JZDW020);国家社会科学重大招标项目“敦煌西夏石窟研究”(16ZDA116)

摘　　要：一西夏千手观音考察千手千眼观音,又名千眼千臂观世音,是六观音之一。两眼两手外左右各具二十手,手中各有一眼,四十手四十眼配于二十五有,而成千手千眼,表度一切众生有无碍之大用也。为伽梵达磨译之《千手经》所说。通途之千手观音是也。The popularity of genre painting in the Song Dynasty developed a new perspective on the subject of Chinese painting,leaving a precious picture scroll of people’s life for later generations.Under the influence of the popularity of genre painting,buddhist painting was influenced by it,and its schema also changed greatly.The Xixia Dynasty Thousand-handed Avalokitesvara is a good example.The painters borrowed,transplanted,reconstructed and grafted this painting technique into the buddhist ritualistic images to further realize the secularization of Buddhism,which not only expanded the magic power of Thousand-handed Avalokitesvara to the extreme,but also made great innovations in the schema.

关 键 词：千手千眼观音 千手观音 一切众生 西夏 风俗画 千手经 观世音 

分 类 号：K246.3[历史地理—历史学] J205[历史地理—中国史]