敦煌莫高窟隋至初唐洞窟西壁所绘图像的功能  

On the Function of Buddhist Paintings on the Western Walls of Mogao Caves from the Sui and Early Tang Dynasties

作　　者：八木春生[1] 牛源(译)[2] YAGI Haruo;LIU Yuan(Department of Art,University of Tsukuba,Tsukuba 305-0006,Japan;Department of Fine Arts,Dunhuang Academy,Dunhuang 736200,Gansu)

机构地区：[1]筑波大学艺术学系,日本筑波305-0006 [2]敦煌研究院美术研究所,甘肃敦煌736200

出　　处：《敦煌研究》2024年第2期38-50,共13页Dunhuang Research

摘　　要：敦煌莫高窟第57窟是唐前期第一期的代表洞窟。外层龛正面左右下部绘有树下两脚合并坐式菩萨像和树下坐于藤座上呈半跏思惟姿势的菩萨像。这种菩萨坐像的组合以及与其类似的组合,在隋代第二期洞窟中就已出现,它们与弥勒像密切相关。但在第57窟中,与隋代第二期洞窟有所不同的是人们憧憬的往生净土画在窟顶。阿弥陀如来作为过去佛,由阿弥陀、释迦、弥勒构成的新三世佛在唐前期第一期完成了转变。重要的是南北壁所表现的树下说法图不仅仅表现了三世佛,还表现了当时人们所憧憬的往生世界的情景。另外,唐前期第一期出现了将弥勒以如来表现且坐于宝池中。但是,初唐第一期末期的第322窟仅北壁阿弥陀如来坐在宝池中,南壁的弥勒如来未见宝池,这是因为弥勒净土本来就没有宝池。这种阿弥陀如来和弥勒如来都拥有配备宝池的净土的模糊印象,也显示了净土之间的不同。第57窟与第322窟一样,北壁如来坐像坐于宝池中伸出的莲花座上、南壁如来坐像周围未见表现其坐于宝池中的莲花和荷叶,那么第57窟南壁主尊虽然不是如来倚坐像,但下意识地作为弥勒如来而绘制的可能性很高。Mogao cave 57 is typical of caves built during the first phase of construction at this site during the Early Tang dynasty.To the left and right of the lower panel in the front of the outer niche,respectively,a bodhisattva stting under a tree with feet together and a pensive bodhisattva stting in the semi-lotus position on a rattan seat are depicted.This and similar combinations of bodhisattva images had previously appeared in illustrations from construction phase two of the Sui dynasty and were closely associated with depictions of Maitreya.However,paintings from the later Tang dynasty of people being reborn into the Pure Land depicted on the ceiling in cave 57 are noticeably different from similar illustrations of the Sui dynasty.The theme of the Three Buddhas of the Three Ages,formed by the Past Buddha Amitabha,the Present Buddha Sakyamuni and the Future Buddha Maitreya,changed between the Sui and the Early Tang dynasties.The most important difference is that the preaching scenes under the trees painted on both the southern and northern walls not only depict the Buddhas of the Three Ages,but also scenes of regular people being reborn into the Pure Land.In addition,whereas in the phase one caves of the Early Tang where Maitreya was depicted as a Buddha seated in a treasure pond,in cave 322,which dates to a later period of the same phase of construction,only Amitabha Buddha depicted on the north wall is sitting in a pond,and there is no pond below the image of Maitreya Buddha.Scriptural analysis has concluded that this is because there is no pond in the Pure Land of Maitreya.In cave 57,as in cave 322,the Buddha depicted on the north wall sits on a lotus throne growing out of a treasure pond,while the Buddha on the south wall sits in a treasure pond without lotus leaves or flowers.Because of the details described above,it can be inferred that the central Buddha on the south wall was likely painted with Maitreya Buddha in mind,even though the position of its legs is slightly different from traditional depictions.

关 键 词：第57窟 第322窟 两脚合并菩萨坐像 半跏思惟菩萨像 净土往生思想 

分 类 号：K879.21[历史地理—考古学及博物馆学]