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敦煌唐五代曠野鬼夜叉圖像小議=A Discussion on Atavika Images in Dunhuang from the Tang to the Five Dynasties |
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| Author |
王芳 (著)=Wang, Fang (au.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.6 (總號=n.160) |
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| Date | 2016 |
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| Pages | 58 - 70 |
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| Publisher | 敦煌研究編輯部 |
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| Publisher Url |
http://www.dha.ac.cn/
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| Location | 蘭州, 中國 [Lanzhou, China] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者單位：慕尼黑大學印藏學系 |
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| Keyword | 敦煌=Dunhuang; 唐五代; 曠野鬼夜叉圖像=Atavika image |
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| Abstract | 敦煌地區的莫高窟和榆林窟盛唐至五代洞窟壁畫，以及藏經洞出土絹畫、版畫、紙本畫中，出現一些攜抱童子的男性圖像。通過比較犍陀羅、龜茲相關圖像，認為這種特異圖像為曠野鬼夜叉。繼而檢閱有關佛教文獻，得知原本啖食童子的曠野鬼夜叉，被釋迦佛降伏後皈依佛教。敦煌地區的曠野鬼夜叉圖像表明，在當地夜叉已轉變成庇護童子的善神。敦煌曠野鬼夜叉圖像是在西域龜茲、于闐等地佛教文化影響下產生的，在敦煌發展過程中又形成鮮明的地域特徵。
In the period between the High Tang dynasty to the Five Dynasties, the image of a male Yak a carrying a boy appears a couple of times in the mural paintings in the Mogao and Yulin Grottoes, as well as in a silk painting, woodcut prints, and one paper painting from the Dunhuang Library Cave. Based on a comparative study of the relevant narrative images in Gandharan reliefs and Kucha mural paintings, this article identifies this very Yak a as Atavika. As narrated in Buddhist literature, Atavika was an evil child-eater before his conversion to Buddhism. The Atavika images in Dunhuang confirm, however, that Atavika became a benevolent Yak a who protected children. The Atavika images of Dunhuang took shape under strong influence from the Buddhist cultures of Kucha and Khotan, though later developments display increasingly strong local features. |
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| Table of contents | 一、曠野鬼夜叉圖像遺存實例 58
二、曠野鬼夜叉的身份及造型演變 62
三、曠野鬼夜叉從惡鬼到保護神 65
四、小結 68 |
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| ISSN | 10004106 (P) |
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| DOI | 10.13584/j.cnki.issn1000-4106.2016.06.012 |
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| Hits | 133 |
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| Created date | 2020.08.24 |
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| Modified date | 2020.08.24 |
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