劳度叉斗圣变未出现于敦煌吐蕃时期洞窟原因试析  

Study on the Reason Why the Mural of Raudraksas Did not Draw in Tibetan Caves in Dunhuang Grottoes

作　　者：李晓青[1] 沙武田[2] 

机构地区：[1]甘肃省博物馆考古部,甘肃兰州730002 [2]敦煌研究院文献所,甘肃兰州730030

出　　处：《西藏研究》2010年第2期73-82,共10页Tibetan Studies

基　　金：国家社科基金青年项目"吐蕃统治时期敦煌石窟研究"(项目批准号:08CKG002)阶段性成果

摘　　要：学术界传统意见认为,敦煌中唐吐蕃之后洞窟中以整壁一铺巨幅画面大量出现的劳度叉斗圣变,主要是意在表现当时人们对推翻吐蕃统治的喜悦心情,属洞窟中的反蕃历史题材。但文章作者并不同意这一传统观点,而从艺术与形式的关系入手,经过对劳度叉斗圣变绘画特点的综合分析,认为劳度叉斗圣变之所以在经过北周初唐的表现后而在中唐吐蕃期洞窟中突然中断,又在晚唐五代宋洞窟中大幅表现,主要是受该类经变画表现形式的限制,其思想仍在阐释主尊造像的性格,并非是用来表现反吐蕃的洞窟绘画历史题材。The traditional ideas to most of authors was that it was the theme of combat Tibetan mu- rals of Raudraksas drew in Dunhuang caves after the those murals reflected the people＇s gratification to the thor of this paper does not think like this,his view to epoch of Middle Tang（ Tibetan age）,and so victory of the war against Tubo. But the au- the reason of murals of Raudraksas suddenly comes out in caves during the Later Tang, Five Dynasties and Song Dynasty,after Northerzhou and Early Tang,but not in Middle Tang caves,is not the theme of combat Tibetan in caves. In fact,be- cause of the special form of the murals of Raudraksas,it is not fit to draw it in Middle Tang small caves ,opposition,it is very good and Song Dynasty subject for those big caves of Later Tang, Five Dynastyies

关 键 词：劳度叉斗圣变 敦煌吐蕃时期洞窟 反吐蕃绘画题材 艺术与形式 

分 类 号：K879.2[历史地理—考古学及博物馆学]