敦煌壁画《五台山图》新考——以莫高窟第61窟为中心

发布时间：2018-06-28 21:00

本文选题：莫高窟 + 第窟　；参考：《中国国家博物馆馆刊》2014年02期

【摘要】：归义军曹氏第四任节度使曹元忠于后晋天福九年(944年)嗣任故兄曹元深之位至后周显德二年(955年)诏赐其"沙州节度使"的十一年间,系以"沙州留后"身份统治敦煌,莫高窟第61窟正是这一"非常时期"敦煌以文殊信仰为主导的佛教文化的物质性再现。该窟借鉴了初唐以来莫高窟《维摩变》与《文殊变》相对表现的空间格局与视觉经验,中心佛坛文殊造像与西壁《五台山图》实际上直接脱胎于吐蕃统治敦煌以来塑绘结合的《文殊变》,并因第61窟史无前例的文殊主题,相应有极大拓展,基于佛坛文殊造像之需要,曹氏画院运用"空间单元"图式结构,重构了中唐《文殊变》中的《五台山图》,赋予其"独立"而宏大的格局,并在以文殊造像为中心的文殊语境中,实现了以《文殊变》与《维摩变》对应结构为主体的宗教与图像内涵的紧密结合。
[Abstract]:The fourth rhythm of Cao Yuanzhong of the Guiyi Army made Cao Yuanzhong the late brother of Cao Yuanshen in the ninth year (944) of the later Jin Dynasty. He ruled Dunhuang under the status of "Shazhou retention" during the eleven years from the second year (955) of the later Zhou Dynasty to the second year of the second year (955). Cave 61 of Mogao Grottoes is the material reproduction of the Buddhist culture dominated by Manjusri belief in Dunhuang during this extraordinary period. The Grottoes draw lessons from the spatial pattern and visual experience of the Mogao Grottoes "Wimo change" and "Manjusri change" which have been shown since the early Tang Dynasty. The Manjusri statue of the center Buddha altar and the west wall of Wutai Mountain actually originated directly from the "Manjusri change", which was combined with plastic and painting since the Tubo rule of Dunhuang, and was greatly expanded because of the unprecedented theme of Manjusri in Grottoes 61. Based on the need of the Manjusri statue of the Buddhist altar, Cao's painting Institute used the "space unit" schema structure to reconstruct the "Wutai Mountain Picture" in the Middle Tang Dynasty "Manjusri change", and endowed it with an "independent" and grand pattern. And in the context of Manjushri with the image of Manjusri as the center, it realizes the close combination of religious and image connotations with the corresponding structure of "Manjusri" and "Wiemo" as the main body.
【作者单位】：广州美术学院;
【基金】：广东省哲学社会科学“十二五”规划项目《归义军与莫高窟》(GD13CYS02)阶段成果
【分类号】：K879.41

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