敦煌莫高窟须摩提女因缘故事画寻微  

Explore the Details of Sumagadhavadana Karma Story Painting at Mogao Grottoes in Dunhuang

作　　者：殷博 YIN Bo(Art Research Institute,Dunhuang Academy,Dunhuang 736200,Gansu)

机构地区：[1]敦煌研究院美术研究所,甘肃敦煌736200

出　　处：《宝鸡文理学院学报（社会科学版）》2023年第2期11-19,86,共10页Journal of Baoji University of Arts and Sciences：Social Science Edition

基　　金：敦煌研究院青年项目:敦煌莫高窟第257窟故事画研究(项目编号:2020-YS-QN-4)。

摘　　要：敦煌石窟中唯一的须摩提女因缘故事画绘于莫高窟第257窟。须摩提女因缘故事有很多版本,其中汉译本已出现内容倾向部派思想的版本,呈现出明显大乘化的版本等特征,敦煌须摩提女因缘故事画应主要据《增一阿含经》绘制,部分内容参考了其他文本。须摩提女因缘故事画糅合了三种图像叙事策略,体现出较强的艺术原创性。该壁画包含了十四个场景,人物形象丰富多彩,画面感十分强烈,图中人物的身份与器物也具体可考,与部派思想有很大的关联性。The only Sumagadhavadana karma story in the Dunhuang grottoes was painted in Mogao cave 257.The Sumagadhavadana karma story has been preserved in both Northern and Southern Buddhism texts,among which the Chinese translation has some the certain early Buddhist schools thoughts,or shows obvious Mahayana tendency and so on.The Sumagadhavadana karma story painting in Dunhuang should be mainly based on the Ekottara-āgama,and some of the paiting content is referenced to other texts.The story painting contains fourteen scenes and integrates three kinds of narrative strategies,which reflects strong artistic originality.The identity of the figure and the name of the main objects can be examined.The story painting has much to do with the certain early Buddhist schools thoughts.

关 键 词：敦煌石窟 莫高窟第257窟 须摩提女 部派佛教思想 

分 类 号：B949[哲学宗教—宗教学]