莫高窟第295窟涅槃经变中的龙吐莲花博山炉解读  

Interpreting the Boshan Censer with a Pattern of a Dragon Spraying Lotus Flowers Depicted in the Nirvana Sutra Illustration in Mogao Cave 295

作　　者：马莉[1] MA Li(School of Fine Art,Northwest Normal University,Lanzhou 730070,Gansu)

机构地区：[1]西北师范大学美术学院,卡甘肃兰州730070

出　　处：《敦煌研究》2025年第1期27-37,共11页Dunhuang Research

基　　金：国家社科基金艺术学西部项目“读图与观心:敦煌石窟艺术心理学研究”(24EA223)。

摘　　要：莫高窟第295窟为隋代洞窟,该窟人字披西披绘涅槃经变一铺。在对比相关经文及图像后,认为位于佛床前侧长期以来被定名为“恶龙吸珠”的图像应为“龙吐莲花博山炉”。它是佛教中国化进程中,因观念的契合而将图式重组,从而创造出承载了诸多观念与意义的图像,不仅体现了因“水”“生命”“护法”而成就的“鱼龙互化”,还包含了“仙山长生与涅槃轮回”“博山与须弥山”在意义上的重合,以及佛教传入中国后焚香的宗教功能被强化。Mogao cave 295 was built in the Sui Dynasty and contains a Nirvana sutra illustration on the western slope of the gabled ceiling.By comparing this illustration with relevant scriptures and images from Buddhism,the author proposes that the object depicted in front of the Buddha’s bed,which has long been considered to be“dragon-absorbing beads,”should instead be identified as“a Boshan censer with a pattern of a dragon spraying lotus flowers.”This theme was created to convey many concepts and meanings during the Sinicization process of Buddhism because it successfully combined Chinese and Indian culture.The censer not only embodied the“mutual transformation of fish and dragon”achieved through“water,”“life”and“protective Dharma,”but also implies the intersection between“the immortal mountain and the nirvana cycle”and“Boshan and Sumeru Mountain”.In addition,the symbolic meaning of censers eventually strengthened the religious function of incense after Buddhism was introduced into China.

关 键 词：涅槃 恶龙吸珠 龙吐莲花博山炉 

分 类 号：K879.21[历史地理—考古学及博物馆学] K879.41[历史地理—历史学]