图像的层累与《观世音菩萨普门品》的完整再现——莫高窟第395窟研究之一  

Sequential Images and the Complete Representation of the Universal Gate of Guanyin——A Study on Mogao Cave 395(Ⅰ)

作　　者：张善庆[1] ZHANG Shanqing(Institute of Dunhuang Studies,Lanzhou University,Lanzhou,Gansu 730020)

机构地区：[1]兰州大学敦煌学研究所,甘肃兰州730020

出　　处：《敦煌研究》2021年第4期17-31,共15页Dunhuang Research

基　　金：2020年国家社会科学基金艺术学重大项目“丝绸之路美术史”(20ZD14);2016年度教育部人文社会科学重点研究基地重大项目“敦煌西夏时期的洞窟分期与研究”(16JJD780009);兰州大学中央高校基本科研业务费专项资金自由探索项目“敦煌外弘型洞窟与寺院仪轨研究”(2020jbkyzy020)。

摘　　要：莫高窟第395窟开凿于隋代,后经重修。甬道南北两壁为五代志公画像和毗沙门天王像,主室南北两壁为西夏观音经变之救助八难,主尊为阿弥陀佛。经研究发现,甬道主题是观世音菩萨之三十三种变化身,和主室观世音菩萨救助八难,共同构成了一部完整的观世音菩萨普门品变。虽然经过五代和西夏两次重修,但是洞窟设计理念却保持一致,这可能与西夏时期盛行的法华信仰与志公和尚信仰密切相关。这一研究也意在揭示重修洞窟研究的重要价值。Mogao cave 395 was carved in the Sui dynasty and renovated twice in later times. Images of Master Zhigong and Vaisnavara painted during the Five Dynasties are painted on the south and north walls of the cave’s corridor, respectively, while the wall paintings on the north and south walls of the main chamber that were created during the Western Xia dynasty depict eight scenes of Guanyin(Avalokitesvara Bodhisattva) saving people from various disasters. Research indicates that the theme of the wall paintings on the top of the corridors is the thirty-three manifestations of Guanyin, and that in combination with the scenes of Guanyin rescuing people, the paintings of cave 395 form a complete illustration of the chapter "The Universal Gate of Guanyin"from the Lotus Sutra. Although the cave was renovated in the Five Dynasties and Western Xia periods, the design of the cave remained the same because belief in both the Lotus Sutra and Master Zhigong remained consistent and widespread through the Western Xia dynasty. Finally, this study emphasizes the importance of researching renovated caves.

关 键 词：莫高窟第395窟 观音经变 观世音菩萨普门品 重修洞窟研究 

分 类 号：K879.21[历史地理—考古学及博物馆学]