敦煌唐代的文殊菩萨图像试析

发布时间：2018-01-09 13:17

本文关键词：敦煌唐代的文殊菩萨图像试析　出处：《敦煌研究》2013年03期 　论文类型：期刊论文

【摘要】：透过对现存敦煌文殊作品的观察,考量其所在位置,归纳作品构成形式与图像元素的发展概况。初唐时,除第220窟外,都见有法华经变作品,说明与法华经关系较密切。盛唐时,狮子图像与初唐一样是最明确的特征,也见有一组后来常见的大菩萨与俗装众随侍以及昆仑奴,但未形成固定模式。昆仑奴的出现,说明佛教造像除以佛经为文本外,亦纳入社会流行的题材。中唐时,与法华经变同时出现的情形减少,见有五台山图的文殊或在背景中加入更多山水云彩表现,应与五台山文殊信仰有关。晚唐时,无论其所在位置或作品组合要素,皆延续中唐发展。五代宋时,增加于阗王驾狮子与善财童子,或佛陀波利与大圣老人的形象。依敦煌写本资料,可知是与中原往来密切有关。
[Abstract]:Through the observation of the existing works of Manjusri in Dunhuang, the location of the works is considered, and the development of the composition and image elements of the works is summarized. In the early Tang Dynasty, except for Grottoes 220, there were all the works of the Fahwa Classic change. In the prosperous Tang Dynasty, the lion image was the clearest feature as in the early Tang Dynasty, and there was a group of later great Bodhisattvas and vulgar minions, as well as Kunlun slaves. But there was no fixed pattern. The appearance of Kunlun Nu showed that in addition to the Buddhist scriptures as the text, it also included popular themes. In the middle of the Tang Dynasty, there were fewer cases that appeared at the same time as the change of the Fa Hua Classic. We can see that the Manjusri of Wutai Mountain or more landscape and cloud performance in the background should be related to the belief of Manjusri in Wutai Mountain. In the late Tang Dynasty, regardless of its location or composition elements, it continued the development of the Middle Tang Dynasty and Song Dynasty. Increase the image of the king of Khotan driving lion and good fortune boy, or Buddha Polly and the old man of great saint. According to the Dunhuang book, it can be seen that it is closely related to the Central Plains.
【作者单位】：台南艺术大学艺术史学系;
【分类号】：K879.21
【正文快照】： 文殊师利菩萨,梵名称为Manju rī,也写成文殊尸利、曼殊尸利、曼殊室利、满祖室哩,或略作文殊、濡首、溥首,或译成妙吉祥、妙德,也称妙音,又名文殊利法王子、曼殊室利童子、文殊师利童真、文殊师利童子菩萨、孺童文殊菩萨等等[1],其中以文殊师利菩萨的称谓最为世人所熟悉。一

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