交融与互鉴——柏孜克里克第20窟僧人供养像研究  

Intermingling and Mutual Appreciation:A Study on the Donors’Portraits of Monks in Cave 20 of Bezeklik

作　　者：张世奇 Zhang Shiqi

机构地区：[1]兰州大学敦煌学研究所 [2]新疆维吾尔自治区博物馆

出　　处：《艺术设计研究》2024年第4期11-19,共9页Art & Design Research

基　　金：国家社科基金艺术学项目“丝路文化交流视域下的回鹘佛教石窟艺术研究”(项目编号:23EA208);国家社科基金冷门绝学研究专项学术团队项目“敦煌壁画外来图像文明属性研究”(项目编号:20VJXT014)的阶段性成果。

摘　　要：柏孜克里克第20窟是高昌回鹘早期王室贵族的功德窟,窟内有宗教和世俗两类壁画,世俗类亦可分两类,即王室成员和僧人。窟内所绘的胡汉僧人则是吐火罗佛教和汉地佛教在高昌回鹘流行的见证,也是高昌回鹘统治者对佛教崇拜的体现。从窟内种种现象来看,20窟修造时,胡僧地位高于汉僧,这或许与有部僧团的东进和高昌回鹘统治者对原始佛教的推崇有关。20窟胡汉僧人为区别派属身份,身着各自派别袈裟,无论是汉僧袈裟上的紫色、田相格,还是胡僧袈裟上的黄色、覆肩袒右式等元素,无不透露着文化交流的影子。胡汉僧人着不同文化背景影响下形成的袈裟且同处一窟,不仅反映回鹘人对待不同文化时所持有的海纳百川、兼容并收的文化态度,而且也是不同民族在高昌回鹘社会中相互融合的缩影。Cave 20 of Bezeklik is a cave as in honor of the early royal aristocracy of the Gaochang Uighur.There are two types of mural in the cave,including religious and secular,and the secular mural also includes two groups,namely,the members of the Royal family and monks.The Hu and Han monks in cave 20 have witnessed the popularity of Tocharian Buddhism and Han Buddhism in the Gaochang Uighur,and presented the Buddhist worship of the rulers of the Gaochang Uighur.Meanwhile,the status of Hu monks was higher than that of Han monks from the various phenomena inside the cave.The reason for this situation may be related to the eastward movement of the monks of the Sarvāstivāda and the worship of primitive Buddhism by the rulers of the Gaochang Uighur.In addition,the Hu and Han monks have dressed in respective Kasaya to distinguish their different sectarian identities,and we can find the shadow of cultural exchange from the purple and field pattern on the Han monks'Kasaya or the yellow and Right Shoulder Partly-Draped on the Hu monks'Kasaya.The Hu and Han monks,dressing Kasaya influenced by different cultural backgrounds and appearing in the same cave,not only reflect the cultural attitude of rivers run into sea,but also a microcosm of the integration of different nations in the Gaochang Uighur.

关 键 词：柏孜克里克第20窟 僧人供养像 袈裟 文化交流 民族融合 

分 类 号：J05[艺术—艺术理论]