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貞觀年間的絲路往來與敦煌翟家窟畫樣的來歷=Silk Road Cultural Exchanges and the Origin of the Cave Wall Paintings Sponsored by the Zhai Family in the Zhenguan Era of the Tang Dynasty |
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榮新江 (著)=Rong, Xin-jiang (au.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.1 (總號=n.167) |
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| Date | 2018 |
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| Pages | 1 - 8 |
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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：北京大學中國古代史研究中心 |
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| Keyword | 敦煌莫高窟=Dunhuang Mogao Grottoes; 翟家窟=cave temple of the Zhai family; 玄奘=Xuan Zang; 劉德敏=Liu Demin; 藥師佛像=Bhaisajyaguru; 帝王圖=paintings of emperors |
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| Abstract | 敦煌莫高窟第220窟是初唐時期開鑿的重要石窟,根據窟內發愿文和題記以及相關史料可知,該石窟開鑿于太宗貞觀十六年(642)至高宗龍朔二年(662)間。其主室的眾多經變畫,特別是北壁一排七身藥師佛立像和東壁維摩詰經變中與閻立本《歷代帝王圖》相同的帝王圖像,從未在此前的敦煌壁畫中出現,應當是新摹自長安的畫樣。唐朝在高祖武德六年(623)牢固據有敦煌,特別是貞觀七年正式更名為沙州后,中原與敦煌的關系更加緊密,一些大族、文士陸續往來敦煌,敦煌的文人如翟通也曾經鄉貢而到長安獲得明經出身,還有貞觀十八年為迎接東歸的玄奘而從長安來至敦煌的使臣,這些人士都有可能把長安畫樣帶給敦煌。因此可以說,貞觀十六年開始開鑿的莫高窟第220窟中的長安畫樣,是當時中原與敦煌文化交流的必然結果。
Mogao Cave 220 is an important cave from the early Tang dynasty constructed between the sixteenth year of the Zhenguan era(642) and the second year of the Longshuo era(662), according to votive texts and inscriptions inside the caves and relevant historical records. The sutra illustrations found within have never been seen before in Dunhuang caves, the seven standing images of Bhaisajyaguru on the north wall and the portrait of the emperor in the Vimalakirti Sutra illustration on the east wall, which is similar to those painted by Yan Liben during the same period, are particularly striking discoveries. These paintings, which seem rather out of place compared to the artistic contents of nearby caves, had likely been copied from drafts from the Tang capital of Chang’an. In the sixth year of the Wu’de era during the reign of Emperor Gao, the Tang empire had Dunhuang under its firm control and established a close relationship between Dunhuang and the Central Plains.Some large and influential families and literati eventually moved to Dunhuang while some literary figures of Dunhuang also went to Chang’an to receive scholarly honors or official ranks—like Zhai Tong for example—and at one point, envoys came from Chang’an to Dunhuang to welcome the return of Xuanzang in the eighteenth year of the Zhenguan era. Any one of these people could have brought the painting style of Chang’an to Dunhuang, meaning that the works appearing in Cave 220(the construction of which began in the sixteenth year of the Zhenguan era) were in fact an inevitable result of cultural exchange between the Central Plains and Dunhuang. |
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| Table of contents | 一 莫高窟第220窟的大唐風貌 2
二 初唐敦煌與絲路的交通 3
三 莫高窟第220窟畫樣的來歷 6
(一) 劉德敏任沙州刺史 6
(二) 翟通鄉貢明經入京 7
(三) 唐朝使臣迎接玄奘取經東歸 7 |
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| ISSN | 10004106 (P) |
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| Hits | 273 |
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| Created date | 2020.10.21 |
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| Modified date | 2020.10.21 |
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