敦煌莫高窟隋代洞窟及其开凿背景研究——基于写经与题记  

A Study on the Sui Dynasty Caves at the Dunhuang Mogao Grottoes and the Background of Their Construction——Based on Relevant Manuscripts and Inscriptions

作　　者：百桥明穗 王云(译)[2] DONOHASHI Akio;WANG Yun(Kobe University,Kobe 650-8586,Japan;Central Academy of Fine Arts,School of Humanities,Beijing 100105)

机构地区：[1]神户大学,日本神户650-8586 [2]中央美术学院人文学院,北京100105

出　　处：《敦煌研究》2023年第4期58-65,共8页Dunhuang Research

摘　　要：对于隋代,这个夹在分裂的南北朝与世界性帝国唐朝之间的朝代,学术界习惯于将其仅仅看作一个过渡时期,甚至与唐代一并处理。文章将重新考察莫高窟隋代洞窟的开凿背景,以进一步准确把握隋代佛教美术动态。隋窟在莫高窟现存洞窟中所占比例高达两成。这些洞窟的营建处于国家振兴佛教的大潮流中,却是基于敦煌民众内在、自发的信仰和经济实力的造像活动。这一点从隋窟内尚无大型经变,小窟偏多,其中一些是对北朝洞窟的改造等情况可以看出。敦煌的隋代造像活动,最终因为与中央的联络中断而陷入停滞,不过其造像活动中体现出的独特创意值得关注。The Sui dynasty,which occurred between the periods of the Southern and Northern Dynasties and the cosmopolitan empire of the Tang dynasty,has always been regarded by academia as a period of transition,or even treated together with the Tang dynasty.This paper re-examines the history of cave construction at Mogao during the Sui dynasty so as to accurately grasp the trends occurring in Buddhist art at the time.Caves built during the Sui dynasty account for twenty percent of all the caves at Mogao.Although the construction of these caves was officially part of a national effort to revitalize Buddhism,the actual motivation and economic resources came entirely from the inner,spontaneous faith of Dunhuang lay practitioners.This can be seen from the fact that there are no large-size sutra illustrations,that the majority of the caves are small in scale,and that some of the spaces were made by renovating caves already constructed during the Northern Dynasties.Cave construction in the Sui dynasty at Dunhuang finally came to an end when the connection between Dunhuang and the central government was severed.However,the burst of creativity embodied in the construction of the caves and images from this unique period in history is well worth academic attention.

关 键 词：莫高窟 隋代 造像活动 写经 题记 

分 类 号：K879.21[历史地理—考古学及博物馆学]