从“魔军掆鼓”到“连鼓雷公”:“降魔成道”图像中“雷公”图像的生成与传播  

From“Demon Army Raising Drum”to“Thunder Lord with Drums Connected Together”:the Origination and Propagation of the“Thunder Lord”Image in the Map of Sakyamuni Conquered Demons and Reached the Spiritual State as an Immortal

作　　者：宋艳玉 Song Yanyu

机构地区：[1]华东师范大学美术学院

出　　处：《艺术传播研究》2023年第3期52-64,共13页Journal of Art Communication

基　　金：2023年华东师范大学“优秀博士生学术创新能力提升计划项目”(编号:YBNLTS2023-036);国家社科基金艺术学一般项目“丝绸之路外来装饰艺术的中国化研究”(编号:18BG107)的阶段性成果。

摘　　要：“降魔成道”图像中的“魔军掆鼓”与“连鼓雷公”都是典型的图像元素,二者在我国的流行时间有先后之分,且鲜少同时出现。但两者其实关系密切,前者来源于犍陀罗地区,对我国早期的降魔成道图像产生了直接的影响,后者则至迟出现在唐代,并于五代时期传入敦煌石窟,是对前者的替代和改换。究其原因,应与隋代《佛本行集经》的译出以及中国传统文化中“雷”与“鼓”的关联有密切关系。The“Demon Army Raising Drum”and“Thunder Lord with Drums Connected Together”in the“Sakyamuni Conquered Demons and Reached the Spiritual State as an Immortal”picture are typical image elements,and the two have their respective popular times in China,and rarely appear simultaneously.The two are actually closely related.The former originated in the Gandhara region and had a direct impact on the early images of“Sakyamuni Conquered Demons and Reached the Spiritual State as an Immortal”in China.The latter appeared no later than the Tang Dynasty and was introduced to Dunhuang Grottoes during the Five Dynasties period,adjusting ang replacing the former.The reason for this should be closely related to the translation of the Sui Dynasty's“Collection of Buddhist Classics”and the association between“thunder”and“drum”in traditional Chinese culture.

关 键 词：降魔成道图 “魔军掆鼓” “连鼓雷公” 美术传播 

分 类 号：K879.4[历史地理—考古学及博物馆学]