龟兹石窟壁画金翅鸟擒蛇平结图像及其来源  

A Study on the Origins and Features of Images Depicting Garuda Catching Nagas by Tying them into Knots in the Kucha

作　　者：李秋红 LI Qiuhongl(School of Arts,Southeast University,Nanjing 211189,Jiangsu;Research Base for the Visual Image of the Chinese Nation,Southeast University,Nanjing 210096,Jiangsu)

机构地区：[1]东南大学艺术学院,江苏南京211189 [2]东南大学中华民族视觉形象研究基地,江苏南京210096

出　　处：《敦煌研究》2024年第2期73-84,共12页Dunhuang Research

基　　金：国家社科基金艺术学项目“西域五、六世纪艺术中的外来文化因素分析”(20CA161)。

摘　　要：渊源于古希腊罗马的蛇身平结图像,在印度和中亚融入佛教物质文化,进而传入龟兹地区。罗马帝国两端有头蛇、中印度和东南印度一体多头蛇,与波斯双头鹰、印度人面鸟喙形金翅鸟像组合造型,形成龟兹特有的金翅鸟擒蛇平结表现。龟兹石窟金翅鸟擒蛇平结图像,绘制在中心柱窟主室券顶中脊天相图中间,表述佛教徒战胜自我烦恼的根本意涵。Images of square knots formed by two snakes originated in ancient Greece and Rome,and were then integrated into Buddhist art culture in India and Central Asia,from which it was then transmitted to the ancient Kucina region(modern Kucha).In the central-pillared caves at Kucha,there is a unique illustration of Garuda catching Nagas by tying them into a square knot that is composed of various motifs taken from multiple ancient cultures.The elements of the image include a snake with heads on either end of its bodies,a motif from the Roman Empire,a multi-headed Naga from Central and Southeast India,a double-headed eagle from Persia,and a human-faced Garuda with the beak of a bird from India.This unique image of Garuda was often painted in the semi-circular vaults of the Kucha region to express the fundamental Buddhist notion of overcoming kleshas,or worldly pains and troubles.

关 键 词：龟兹石窟 蛇身平结图像 金翅鸟擒蛇平结图像 古希腊罗马文化 印度和中亚文化 

分 类 号：K879.29[历史地理—考古学及博物馆学]