高平开化寺大殿东壁卢舍那法界人中图像的来源及意涵  

The Source and Meaning of the Image of the People in the Lushena Dharma Realm on the East Wall of the Main Hall of Gaoping Kaihua Temple

作　　者：李雅君[1,2] Li Yajun

机构地区：[1]山西大学美术学院 [2]山西大学云冈学研究院

出　　处：《艺术传播研究》2024年第6期64-72,共9页Journal of Art Communication

基　　金：山西省哲学社会科学项目“云冈学视野下晋东南石窟造像艺术研究”(批准号:2022YJ006)的成果。

摘　　要：山西高平开化寺的大殿四壁绘有北宋元祐七年至绍圣三年的佛教壁画。其中,东壁所绘华严经变之南端,有卢舍那法界人中图像一铺。从该图像入手,通过将其与相关材料进行比对分析,基本可以获知其来源为流行华严与密教的辽国。辽代佛教的盛行,极大刺激了雕版印刷的发展,并带动了跨地域的图像传播。开化寺卢舍那法界人中图像的出现,一方面体现了10至11世纪弥漫于辽宋社会的末法观念,另一方面也意在强调华严的救度思想。The four walls of the main hall of Kaihua Temple in Gaoping,Shanxi Province,are painted with Buddhist murals from the seventh year of Yuan You(1092)to the third year of Shao Sheng(1096)in the Northern Song Dynasty.Among them,the southern end of the Huayan Sutra transformation tableaus painted on the east wall is paved with images of the Dharma realm of Lushena.Starting from this image,by comparing and analyzing it with relevant materials,it can be basically concluded that its source is from the Liao Dynasty,where Huayan and Esoteric Buddhism were popular.The prevalence of Buddhism in the Liao Dynasty greatly stimulated the development of woodblock printing and led to the spread of images across regions.The appearance of images of the people in the Lushena Dharma Realm in Kaihua Temple not only reflects the concept of the end Dharma that pervaded the Liao and Song societies in the 10th and 11th centuries,but also aims to emphasize Huayan’s idea of salvation.

关 键 词：开化寺 华严经变 卢舍那法界人中像 佛教壁画 

分 类 号：K878.6[历史地理—考古学及博物馆学] B949.2[历史地理—历史学]