雨神形象及祈雨仪式的文化旨意——以新疆地区和敦煌石窟壁画为例  

The Image of the Rain God and the Cultural Will of the Rain Prayer Ceremony——Taking Xinjiang Region and Dunhuang Grottoes Frescoes as Examples

作　　者：张家毓 ZHANG Jia-yu(Institute for Studies of Taoism&Religious Culture,Sichuan University,Chengdu Sichuan,610065)

机构地区：[1]四川大学道教与宗教文化研究所,四川成都610065

出　　处：《山西大同大学学报（社会科学版）》2024年第5期112-121,126,共11页Journal of Shanxi Datong University(Social Science Edition)

基　　金：国家社科基金艺术学项目“8-12世纪川滇佛教与吴哥的文化交流”(21EF208)。

摘　　要：新疆、敦煌石窟中的雨神形象丰富多变,既有以动物状的龙形出现,也有以人形状的武士或者菩萨装扮者出现。其中龙形的雨神形象和印度“Naga”蛇的相互关联性,之间的文化联系是研究的重点和难点,但可以看出外来文化东传至新疆便不断地中国化,被人们接受且融合创新。在敦煌石窟所见雨神形象之外,带有多种文化属性“祈雨图”的出现,是文化融合的更高展现。研究新疆、敦煌雨神形象以及敦煌“祈雨图”目的是探讨文化的多元性在新疆和敦煌这片土地上的传承与创新。The images of rain gods in Xinjiang and Dunhuang grottoes are rich and varied,both appearing in the shape of ani-mal-like dragons,and also appearing in the shape of warriors or bodhisattvas.Among them,the cultural connection between the drag-on-shaped rain god image and the Indian“Naga”snake is the focus and difficulty of the research.However,it can be seen that for-eign cultures have been continuously Sinicized and accepted by people and integrated and innovated since they were introduced to Xinjiang from the east.In addition to the image of the rain god seen in the Dunhuang Grottoes,the appearance of“praying for rain”with various cultural attributes is a higher manifestation of cultural integration.The purpose of studying the images of rain gods in Xinjiang and Dunhuang and the“rain praying map”in Dunhuang is to explore the inheritance and innovation of cultural diversity in Xinjiang and Dunhuang.

关 键 词：新疆 敦煌 壁画 雨神 祈雨 

分 类 号：K870.6[历史地理—考古学及博物馆学]