寻找真实的佛陀:佛传故事壁画在晚唐复兴的原因  

In Search of the Authentic Buddha:Reasons for the Revival of Jatakas in Murals in the Late Tang Dynasty

作　　者：杨斯斐[1] 

机构地区：[1]大理学院学报编辑部,云南大理671003

出　　处：《大理学院学报（综合版）》2013年第5期11-13,F0003,共4页Journal of Dali University

摘　　要：相对于中唐之前的敦煌洞窟,中唐和晚唐的洞窟壁画出现了一些新的特点。这些特点是:中唐231窟和237窟出现了连续的佛陀瑞像图,此外,在晚唐的85窟和95窟出现了佛传故事的复兴。这两个新特点出现有一定的原因,并且它们之间有相互联系。佛陀瑞像图的出现和佛传故事画的出现都是指向过去,指向本源的、真正的佛陀。这些新特点背后隐藏的是佛教中国学派的衰落和晚唐时期人们日常生活关注重点的转移。Compared with caves excavated before the mid-Tang, there were many new characteristics in Dunhuang murals during the middle and late Tang periods, which were as following： the appearance of the auspicious Buddha images in the Middle Tang caves like Cave 231,237 and the revival of Jatakas in the Late Tang caves like Cave 85, 95. This article tries to explain the reasons for tile two characteristics and the connections between them. The appearance of auspicious Buddha images and the revival of Jatakas both directed to the past and to the authentic Buddha. What lies behind these phenomena are the decline of Chinese schools of Buddhism and the changing concerns of people in the Later Tang period.

关 键 词：佛传故事壁画 晚唐 复兴 原因 

分 类 号：K879.41[历史地理—考古学及博物馆学]