《瑞像图》加一残片,再提几个问题

发布时间：2018-05-27 18:18

本文选题：敦煌绢画 + 瑞像图　；参考：《艺术设计研究》2014年04期

【摘要】：印度新德里国立博物馆藏斯坦因收集品中的敦煌绘Ch.xxii.0025,即S.452,该画与瑞像图的其他遗存在每个特征上都能吻合。该画为一身十一面观音菩萨立像,仅存膝盖以上部分,与莫高窟第340窟东壁入口上部的十一面观音菩萨立像相似。其年代应为公元7世纪晚期的武则天统治时期,是陪伴王玄策出访古印度的宋法治或别的画家根据他们在古印度膜拜的神像在长安复制的。宋法治的绘画也可能是女皇武则天所建七宝台之十一面观音菩萨像的原型,因此在考察中国所描绘的十一面观音菩萨像的起源时,德里残片上的造像应该具有同等的重要性。
[Abstract]:The Dunhuang Ch.xxii.0025, S.452, in the collection of the National Museum of the National Museum of New Delhi, India, is identical to all the other features of the image. It is a eleven Avalokiteshvara portrait, only a part of the knee, which is similar to the eleven face of Avalokiteshvara in the upper entrance of the East wall entrance of Mogao Grottoes 340th. In the period of the Wu Zetian rule of the late seventh Century ad, it was the rule of law that accompanied Wang Xu's visit to the ancient India, or other painters copied it in Changan according to the gods they worshipped in ancient India. The painting of the rule of law in the Song Dynasty may also be the prototype of the eleven Avalokiteshvara image of the Qibao platform built by the queen Wu Zetian. The portrait of Delhi fragments should be of equal importance when the eleven faces of Avalokiteshvara were painted.
【作者单位】：伦敦大学亚非研究学院;敦煌研究院编辑部;
【分类号】：K879.4

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