数字化时代的敦煌壁画图像研究——以莫高窟第72窟北壁弥勒经变为例  

The Study of Dunhuang Murals in the Digital Age——Taking the Maitreya Illustration on the North Wall in Mogao Cave 72 as a Case Study

作　　者：王惠民[1] WANG Huimin(Archaeology Department, Dunhuang Academy, Lanzhou, Dunhuang, Gansu 736200)

机构地区：[1]敦煌研究院考古研究所

出　　处：《敦煌研究》2019年第4期26-37,共12页Dunhuang Research

基　　金：国家社科重点项目“敦煌石窟图像专题研究”(13@ZD098);教育部人文社会科学重点研究基地重大项目“敦煌石窟内容总录”阶段性成果之一(16JJD770023)

摘　　要：数字化技术是佛教图像研究的新手段。本文利用新完成的敦煌莫高窟第72窟北壁弥勒经变数字化图像,对该经变进行了细致考察,确认多数画面与榜题可以识读,首次完整抄录该经变的榜题文字并与经文、画面进行比对,发现该经变主要依据义净翻译的《佛说弥勒下生成佛经》绘制,但还有较多内容吸纳了之前翻译的几部弥勒经典,甚至还有少量非弥勒经典的内容,从而对该经变内容有了更准确的认识。A close examination of the newly obtained digital images of the Maitreya illustration on the north wall in Mogao cave 72 suggests that most of the scenes and inscriptions can be successfully identified with the aid of new digital technology. By transcribing the inscriptions and texts accompanying the sutra illustration and comparing them with the pictorial representations, the author confirms that the illustration was painted mainly according to the Sutra of Meditation on Maitreya Bodhisattva’s Rebirth Below in Ketumati translated by Yi Jing. Besides this primary model, the illustration absorbed material from a few earlier translated versions of the same sutra and even borrowed from a few sutras that have nothing to do with Maitreya at all. This study allows us to gain a more accurate picture of this illustration and is an excellent example of how research technology innovations can prove effective in the study of ancient history.

关 键 词：莫高窟第72窟 弥勒经变 榜题 

分 类 号：K879.41[历史地理—考古学及博物馆学]