维摩诘披袍形象考  

Vimalakīrti in Kandys:An Multi-cultural Integrated Image in Dunhuang Grotto and Its origin

作　　者：杨瑾 YANG Jin

机构地区：[1]陕西师范大学历史文化学院,陕西西安710119

出　　处：《中原文物》2025年第1期120-127,共8页Cultural Relics of Central China

基　　金：陕西师范大学2022年度“一带一路”专项科研项目(项目编号:22YDYLZ007),一般项目“全球史视域下北朝至隋唐墓葬披袍形象研究”阶段性成果。

摘　　要：自东汉中平五年(188年)严佛调所译《维摩诘经》传至中土后,维摩诘形象便开始了从文本记载的“白衣居士”到图像描绘的“士大夫”的转化过程。维摩诘从炳灵寺壁画中袒露上身的胡人形象到云冈石窟雕刻中披袍的鲜卑胡服贵族形象,再到龙门石窟雕刻中的汉服披袍形象,最终固定于敦煌石窟中程式化的汉服形象。其所披袍服遍见于北朝至隋唐墓葬和宗教语境,最早渊源不明,较早见于希罗多德和色诺芬关于波斯人和米地亚人kandys,典型特征是两袖空置、肩披或绳(带)系于颌下或胸前,后传播欧亚各地,出现在多种文化语境下,对近代广大欧亚地区服饰均有影响。中国最早出现的维摩诘披袍图像见于东晋时期顾恺之的绘画及文献记载的王恭“鹤氅裘”,佛教语境下见于云冈、龙门与敦煌,并在敦煌完成了程式化图像形式序列,出现了一种教俗皆见的披袍效应,反映出游牧文化元素在长时段传播过程中变迁轨迹及其核心成分在不同文化环境的存续,更呈现出了其复杂的轨迹。The first depiction of Mahayana Buddhist Vimalakīrti wearing kandys appears in the Yungang Grottoes,followed by representations in Longmen and Dunhuang,with some variations in style.Comparing the kandys worn by Vimalakīrti in pottery figurines,mural portraits,and stone carvings reveals differences in details such as the collar,sleeve length,and width,as well as a more integrated appearance of various elements.These variations suggest that the kandys,as an ethnic or nomadic symbol,were influenced by the Iranian tribes or other groups that migrated from the Mediterranean region to the western and northern parts of China.It is likely that Xianbei or Xiongnu nomadic tribes played a role in introducing kandys to China.

关 键 词：维摩诘 披袍 色诺芬 米底亚 

分 类 号：K879.3[历史地理—考古学及博物馆学]