冥界十王信仰与敦煌引路菩萨像的产生  

The Cult of the Ten Kings of the Netherworld and the Emergence of the Visual Representation of the Guide Bodhisattva in Dunhuang

作　　者：李清泉[1] 杨文萱 Li Qingquan;Yang Wenxuan

机构地区：[1]山东大学文化遗产研究院,山东青岛266237

出　　处：《艺术探索》2024年第5期45-54,共10页Arts Exploration

基　　金：山东大学0000—4—自由探索项目“佛教影响下的五代宋辽金墓葬美术”(IFWF2008)。

摘　　要：晚唐至宋描绘菩萨引导亡者前往净土的敦煌引路菩萨像,其图式不同于既往的来迎图,更强调“引路”的目的。这种转变与晚唐时期十王信仰的兴盛所引发的地狱观念具象化趋势密切相关。以观音作为引路菩萨受密教观音信仰的影响,而幡则糅合了汉地丧仪与佛教胜幡中出行、引魂、破地狱及生净土等多重寓意,二者共同建构了引路菩萨护佑亡者顺利渡过冥途的图像意涵。From the late Tang to the Song dynasty,the depiction of the Guide Bodhisattva leading the deceased to the Pure Land,in Dunhuang,distinguishes itself from previous images,laying more emphasis on the purpose of"guiding the way".This transformation is closely related to the trend of concretisation of conceptions of hell triggered by the rise of the cult of the Ten Kings during the late Tang period.The choice of Avalokitesvara as the Guide Bodhisattva is influenced by the bodhisattva's duty of saving souls from hell in Esoteric Buddhism,while the cult-related banners combine multiple meanings from Han Chinese funeral rites and Buddhist victory banners,such as traveling,guiding souls,breaking hell,and being reborn in the Pure Land.Together,these elements construct the image meaning of the Guide Bodhisattva protecting the deceased to smoothly pass through the afterlife journey.

关 键 词：引路菩萨 中阴 地狱十王 观音 幡 

分 类 号：J219[艺术—美术]