炳灵寺第169窟西秦图像反映的犍陀罗文化因素东传情况  

The Eastward Dissemination of Gandharan Culture Reflected in Images of the Western Qin Kingdom in Cave 169 at the Binglingsi Grottoes

作　　者：李静杰[1] 

机构地区：[1]清华大学艺术史论系,北京100084

出　　处：《敦煌研究》2017年第3期16-33,共18页Dunhuang Research

基　　金：2015年度国家社科基金艺术学一般项目"南亚文化给予南北朝隋唐艺术的影响"(15BA014)

摘　　要：永靖炳灵寺第169窟西秦遗迹,系中国早期佛教物质文化的重要内容。本文讨论了其中学界没有确定的图像尊格和若干造型因素的由来,认为北壁12号壁画说法图为梵天劝请内容,北壁3号龛泥塑二胁侍应分别为菩萨、执金刚力士像,进而指明其犍陀罗和西域文化渊源,以及在汉文化地区的后续影响情况;继而分析了本窟西秦壁画鲜花、花鬘供养图像及花树庄严图像与犍陀罗和西域文化因素的关联。炳灵寺第169窟西秦遗迹,具体、真实地反映了犍陀罗文化因素东传和新发展情况。The relics of the Western Qin Kingdom in Cave 169 at the Binglingsi Grottoes are very important components of early Chinese Buddhist material culture. This paper discusses the origins and modeling of some unidentified characters from the murals found in the cave and comes to the following conclusions： painting No. 12, of Buddha preaching, on the north wall is in fact a depiction of Brahma＇s Request; and the two clay atten- dant statues in cave 3 on the north wall are Bodhisattva and Vajradhara. On this basis, the author further demon- strates that the works＇ iconographic origins come from Gandhara and the Western Regions, identifies the sub- sequent effects of these cultures in an area dominated by Han-Chinese culture, and then analyzes the connec- tions between the images on the north wall, with a special eye for depictions of flower offerings, flower tendrils, and decorative flower-trees, and the art and culture of Gandhara and the Westem Regions. These Westem Qin relics in Cave 169 at the Binglingsi Grottoes accurately and authentically opment of Gandharan cultural elements reflect the eastward spread and devel-

关 键 词：炳灵寺第169窟 西秦佛教图像 犍陀罗文化 梵天 执金刚力士 

分 类 号：J19[艺术—艺术理论] K879.4[历史地理—考古学及博物馆学]