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唐、吐蕃、粟特在敦煌的互動 - 以莫高窟第158窟為中心=The Interaction Among the Tang, Tubo, and Sogdian People in Duanghuang - With a focus on Mogao Cave 158 |
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| 著者 |
沙武田 (著)=Sha, Wu-tien (au.)
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| 掲載誌 |
敦煌研究=Dunhuang Research
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| 巻号 | n.3 (總號=n.181) |
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| 出版年月日 | 2020 |
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| ページ | 14 - 26 |
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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：陜西師範大學人文社會科學高等研究院 |
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| キーワード | 莫高窟第158窟=Mogao cave 158; 涅槃經變=Nirvana Sutra illustration; 中亞粟特傳統=Sogdian tradition in Central Asia; 吐蕃影響=Tibetan influence; 高僧寫真傳統=traditional pattern of Buddhist monks images |
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| 抄録 | 敦煌莫高窟第158窟作為來自中亞的粟特移民在吐蕃統治時期營建的涅槃大窟,窟內造像和壁畫整體是傳統的唐樣唐風,但受功德主粟特民族屬性的影響,同時又受到吐蕃統治的時代左右,壁畫中表現出較為明顯的粟特和吐蕃藝術元素或影響。其中的涅槃經變屬於中亞傳統樣式,經變中的各國王子舉哀圖中人物的榜題、第一王者像、出現在各國王子後列的猴子像和三世佛像上彩塑佛身上袈裟的團花裝飾,均有粟特藝術的影子。而甬道供養人畫像榜題框的形制特點、涅槃變中各國王子中贊普和中原帝王的頭光,則有吐蕃歷史的背景。至於新發現的涅槃造像中僅見的樹上掛頭陀包和澡瓶的現象,則顯示出唐人高僧寫真傳統對該窟涅槃圖像的影響。總體而言,第158窟壁畫圖像體現出唐、吐蕃、粟特多元文化藝術互動的有趣現象,實是絲綢之路上多元文化藝術相互影響滲透的難得實例。
Mogao cave 158 was built by Sogdian immigrants from Central Asia during the Tibetan occupation period in Dunhuang. The statues and murals in Cave 158 are in the traditional Tang style, but were influenced by both the culture of the Sogdian people who sponsored the construction of the cave, and the culture of the ruling Tibetans. The result of this confluence of cultures is obvious in the murals of cave 158, which show obvious artistic elements or influences from Sogdiana and Tibet. The source and influence of various artistic themes in these murals has been systematically investigated by art historians. The illustration of the Nirvana Sutra exhibits a traditional pattern of Central Asia. The figures in a mural depicting the first king, princes, and monkeys, as well as the medallion decoration patterns on the Three Buddha statues all show the influence of Sogdian art. The shape and characteristics of the title box beside a portrait in the corridor of the cave, and the halos of Zap and the emperor of the Central Plains were made in a Tibetan context. As for the Toutuo(dhatu) bags and bath bottle hanging on the lone tree in the Nirvana Sutra illustration, which has only recently been examined, this theme shows the influence of the Tang Dynasty Buddhist tradition on the nirvana images in this cave. On the whole, the murals of cave 158 shows an interesting phenomenon of multi-cultural interaction among the Tang, Tubo, and Sogdian peoples, which is a rare example of the interaction and penetration of multi-cultural arts on the Silk Road. |
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| 目次 | 一 涅槃經變畫面選擇的中亞粟特意識 15
（一）畫面整體構圖的中亞傳統 16
（二）對中亞涅槃傳統的修正體現出的粟特文化影子 17
（三）各國王子舉哀圖中人物榜題框暗含功德主的身份需求 17
（四）各國王子畫面人物順序安排上的粟特主導地位 18
（五）一隻猴子的粟特屬性 19
（六）受粟特影響下的團花佛衣 20
二 彰顯吐蕃因素的圖像運用與細節處理 21
（一）對唐蕃兩個民族帝王像的強調及其原因和意義 21
1. 排列位置關係問題 21
2. 頭光的問題 22
3. 吐蕃贊普的藏漢對照榜題設計 22
（二）供養人畫像榜題的吐蕃傳統 22
（三）窟頂四方佛為吐蕃系統圖像 23
三 漢地高僧寫真圖像傳統對第158窟涅槃像的新詮釋 24
小結 25 |
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| ISSN | 10004106 (P) |
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| ヒット数 | 401 |
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| 作成日 | 2020.11.11 |
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