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敦煌壁畫中女性外道表現手法發覆=A Study on the Artistic Techniques in the Figures of Female Heretics in Dunhuang Murals |
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| Author |
宋若谷 (著)=Song, Ruo-gu (au.)
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沙武田 (著)=Sha, Wu-tien (au.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.1 (總號=n.179) |
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| Date | 2020 |
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| Pages | 60 - 69 |
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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：蘭州大學敦煌學研究所；陜西師范大學歷史文化學院 |
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| Keyword | 女性外道形象=female heretic figure; 婆羅門人物=Brahmin; 漢文化=Han-Chinese culture; 婦德標準=standard of female morality; 女性身體觀=female body view; 文化偏見=cultural prejudice; 藝術歧視=artistic discrimination |
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| Abstract | 外道形像是佛教藝術中常見的題材,廣泛見於印度、中亞、西域、漢地藝術當中,其外貌特徵是傳統的婆羅門人物形象。我們注意到,佛教藝術中的外道形像多為男性婆羅門形象,相對而言女性外道在佛教藝術中出現較少,故長期乏人關注。但通過仔細梳理敦煌壁畫,可以看到在降魔成道圖、勞度叉鬥聖變、報恩經變等繪畫中有特定的外道女性形象。頗為有趣的是,敦煌壁畫中女性外道的形象前後有變化,早期是中亞西域式青年美女和婆羅門老年醜婦人形象;至唐代則基本以漢地貴婦人形象表現,同時在壁畫中也有將外道婆羅門女性畫成胡人女子的形象;西夏降魔成道圖壁畫中則是西夏貴夫人和魔女形象。總體觀察,畫家在處理外道女性形象時隨著時間的推移,漢化是主要的線索。之所以會出現這一現象,實是受漢文化和傳統社會中對女性女德標準規範的左右,同時漢人社會對外來女性的文化偏見,導致漢地包括佛教藝術在內的歷史形象資料中對外來女性藝術表達的歧視現象。透過敦煌畫中外道形象的表現手法,不僅能看到漢文化中外來藝術轉變的軌跡,也可以看到受偏見文化影響下的歧視性藝術。
Heretic figures are an important theme in Buddhist art and are commonly found in the art of ancient India, Central Asia, and the Western Regions and Central Plains of China, the majority of which resemble traditional Brahmin figures. However, we have noticed that most of the heretic figures in Dunhuang Buddhist art are male and that almost no attention has been paid to the female figures simply because they are too scarce.Looking at the Dunhuang murals, we find that there are specific images of female heretics in several paintings,such as the illustrations of Vanquishing Mara, Raudraksa’ s battle with Sariputra, and the Sutra of Repaying Kindness. Most interestingly, the images of the female heretics vary significantly over time. At first, the female figures were either beautiful young girls or ugly old female Brahmin painted in the style of Central Asia and the Western Regions, but in the Tang dynasty, they became almost identical with general depictions of Chinese ladies. What’s more, there are two different figures in the illustration of Vanquishing Mara in Western Xia kingdom: one is a beautiful Tangut lady and the other is a girl heretic, a difference in depiction which reveals that Sinicization is key to the development of these female heretic figures. The reason for this phenomenon,broadly stated, was the growing influence of a standard of female morality in traditional Han Chinese culture and society. The cultural bias of Han Chinese towards foreign women led to discrimination in the artistic depiction of women in historical materials, including the Buddhist art in regions dominated by Han Chinese culture.Through analysis of the female heretic figures in Dunhuang paintings, we can find traces of the assimilation of exotic art by Han Chinese cultureas well as discriminatory artistic practices influenced by certain cultural prejudices. |
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| Table of contents | 前言 61
一 早期壁畫中女性形象 61
（一）印度、中亞和克孜爾石窟女性形象 61
（二）敦煌早期洞窟壁畫中女性形象 62
二 經變畫中的外道魔女 63
（一）降魔成道圖中的外道魔女 63
1. 北朝降魔成道圖中的魔女形象 63
2. 唐代降魔成道圖中的魔女形象 64
3. 五代宋曹氏歸義軍時期降魔成道圖中的魔女形象 64
4. 西夏降魔成道圖中的魔女形象 64
（二）勞度叉鬥聖變中的外道女性 65
（三）報恩經變中的婆羅門女性形象 65
（四）八塔變中外道女性形象 66
三 傳統漢文化中對外來女性歧視性的圖像表達 67
結語 69 |
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| ISSN | 10004106 (P) |
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| Hits | 141 |
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| Created date | 2020.11.10 |
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| Modified date | 2020.11.10 |
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