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從“法華觀音”到“華嚴觀音” - 莫高窟第464窟后室壁畫定名及其與前室壁畫之關系考論=The Transformation of Avalokitesvara from the Lotus Sutra to the Garland Sutra - A Study on the Identification of the Murals in the Main Chamber of Mogao Cave 464 and the Relation of the Painting with the Antechamber |
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| 著者 |
張元林 (著)=Zhang, Yuan-lin (au.)
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| 掲載誌 |
敦煌研究=Dunhuang Research
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| 巻号 | n.1 (總號=n.191) |
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| 出版年月日 | 2022 |
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| ページ | 20 - 32 |
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| 出版者 | 敦煌研究編輯部 |
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| 出版サイト |
http://www.dha.ac.cn/
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| 出版地 | 蘭州, 中國 [Lanzhou, China] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| ノート | 作者單位：敦煌研究院 |
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| キーワード | 觀音現身=Manifestation of Avalokitesvara; 《大乘莊嚴寶王經》=Avalokitesvara Guzakarazdavyuha Sutra; 西夏文《觀音經》=Avalokitesvara Sutra in Tangut script; 西夏文《華嚴經》=Garland Sutra in Tangut script; 善財童子五十三參=Sudhana Visiting the Fifty-three Kalyānamitra |
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| 抄録 | 關于莫高窟第464窟后室所繪的“觀音現身”畫面，學界一直認為是一鋪觀音經變。但近年有研究者提出新說，認為是據《大乘莊嚴寶王經》所繪，故而將其定名為大“乘莊嚴寶王經變”，并推論南壁所繪“上師”人物形象為該經中提到的“阿蘇啰”、諸多頭戴冠飾的形象為“日天”“月天”諸天神。文章通過詳細比較、分析這兩種不同的定名，并對敦煌發現的西夏文《觀音經》繪圖刻本進行研究后認為，后室“觀音現身”是根據《法華經·觀音普門品》所繪，仍然是一鋪觀音經變，畫面中出現所繪“國師”或“帝師”形象很可能與窟主個人有關。并在此基礎上認為，后代只重繪了前室和甬道，而有意保留后室壁畫，很可能是考慮到“觀音現身”與“善財童子尋訪善知識”二者之間有許多共同之處，因而進行了融通，而原本的“法華觀音”也就轉變為“華嚴觀音”。
For many years, a painting depicting the “Manifestation of Avalokitesvara” in the main chamber of Mogao cave
464 has widely been regarded as an illustration of Avalokitesvara. In recent years, however, some researchers have come to
believe that this mural was actually painted based on the Avalokitesvara Guzakarazdavyuha Sutra. They therefore conclude that
the primary subject is Avalokitesvara-Guzakarazdavyuha and infer that the image of the “master” is most likely Asura, who is
mentioned in the sutra, while the figures wearing crowns represent various deities such as the sun and the moon. By carefully
comparing and analyzing these analyses together with the block-printed version of the Avalokitesvara Sutra in Tangut script
discovered in Dunhuang, the author comes to the conclusion that the “Manifestation of Avalokitesvara” in the main chamber was
created according to the Chapter of the Universal Gate from the Lotus Sutra. In addition, analysis of the history of the cave leads
to the inference that the illustration does depict Avalokitesvara, but that the figure of the “master” or royal preceptor in the
painting was likely associated with the donor who sponsored the construction of the cave. On this basis, it can be concluded that
only the antechamber and the corridor were repainted in later times because the cave donor wanted to maintain certain thematic
similarities between the “Manifestation of Avalokitesvara” and “Sudhana Visiting the Fifty-three Kalyānamitra” scenes in
Buddhist scripture. During later renovation of the cave, the original mural containing Avalokitesvara as he appears in the Lotus
Sutra was replaced by a depiction more closely in line with his form in the Garland Sutra. |
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| 目次 | 一緣起
二莫高窟第464窟“觀音現身”畫面兩種定名之比較
三莫高窟第464窟“觀音現身”畫面再釋
1．西壁畫面
2．北壁畫面
3．南壁畫面
四莫高窟第464窟后室與前室的關系蠡測
五小結 |
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| ISSN | 10004106 (P) |
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| DOI | 10.13584/j.cnki.issn1000-4106.2022.01.003 |
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| ヒット数 | 24 |
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| 作成日 | 2023.03.20 |
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| 更新日期 | 2023.03.20 |
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