从“法华观音”到“华严观音”——莫高窟第464窟后室壁画定名及其与前室壁画之关系考论  

The Transformation of Avalokitesvara from the Lotus Sutra to the Garland Sutra——A Study on the Identification of the Murals in the Main Chamber of Mogao Cave 464 and the Relation of the Painting with the Antechamber

作　　者：张元林[1] ZHANG Yuanlin(Dunhuang Academy,Dunhuang,Gansu 736200)

机构地区：[1]敦煌研究院,甘肃敦煌736200

出　　处：《敦煌研究》2022年第1期20-32,共13页Dunhuang Research

基　　金：甘肃省文物局文物保护科学研究课题“敦煌石窟日神、月神图像调查与研究”(GWJ201816)。

摘　　要：关于莫高窟第464窟后室所绘的“观音现身”画面,学界一直认为是一铺观音经变。但近年有研究者提出新说,认为是据《大乘庄严宝王经》所绘,故而将其定名为大“乘庄严宝王经变”,并推论南壁所绘“上师”人物形象为该经中提到的“阿苏啰”、诸多头戴冠饰的形象为“日天”“月天”诸天神。文章通过详细比较、分析这两种不同的定名,并对敦煌发现的西夏文《观音经》绘图刻本进行研究后认为,后室“观音现身”是根据《法华经·观音普门品》所绘,仍然是一铺观音经变,画面中出现所绘“国师”或“帝师”形象很可能与窟主个人有关。并在此基础上认为,后代只重绘了前室和甬道,而有意保留后室壁画,很可能是考虑到“观音现身”与“善财童子寻访善知识”二者之间有许多共同之处,因而进行了融通,而原本的“法华观音”也就转变为“华严观音”。For many years,a painting depicting the“Manifestation of Avalokitesvara”in the main chamber of Mogao cave 464 has widely been regarded as an illustration of Avalokitesvara.In recent years,however,some researchers have come to believe that this mural was actually painted based on the Avalokitesvara Guzakarazdavyuha Sutra.They therefore conclude that the primary subject is Avalokitesvara-Guzakarazdavyuha and infer that the image of the“master”is most likely Asura,who is mentioned in the sutra,while the figures wearing crowns represent various deities such as the sun and the moon.By carefully comparing and analyzing these analyses together with the block-printed version of the Avalokitesvara Sutra in Tangut script discovered in Dunhuang,the author comes to the conclusion that the“Manifestation of Avalokitesvara”in the main chamber was created according to the Chapter of the Universal Gate from the Lotus Sutra.In addition,analysis of the history of the cave leads to the inference that the illustration does depict Avalokitesvara,but that the figure of the“master”or royal preceptor in the painting was likely associated with the donor who sponsored the construction of the cave.On this basis,it can be concluded that only the antechamber and the corridor were repainted in later times because the cave donor wanted to maintain certain thematic similarities between the“Manifestation of Avalokitesvara”and“Sudhana Visiting the Fifty-three Kalyānamitra”scenes in Buddhist scripture.During later renovation of the cave,the original mural containing Avalokitesvara as he appears in the Lotus Sutra was replaced by a depiction more closely in line with his form in the Garland Sutra.

关 键 词：观音现身 《大乘庄严宝王经》 西夏文《观音经》 西夏文《华严经》 善财童子五十三参 

分 类 号：K879.41[历史地理—考古学及博物馆学]