敦煌莫高窟第55窟研究

发布时间：2018-04-11 22:25

  本文选题：敦煌 + 曹氏归义军　； 参考：《兰州大学》2016年博士论文

【摘要】：曹氏归义军是五代、宋敦煌的地方性政权。曹氏历任节度使大都崇奉佛教,对敦煌的佛教发展及石窟营建影响深远,这在其开凿的家窟中多有体现。莫高窟第55窟营建于公元962-964年间,窟主为曹氏归义军第四任节度使曹元忠。窟内除供养人图像后期进行遮盖重绘外,其他造像及壁画均为原貌。无论是造像与经变画的选取与组合,还是石窟所体现出的宗教与世俗意义,该窟在敦煌石窟中都具有一定的代表性。本文在已有的研究成果上,运用考古学、文献学、宗教学、图像学等研究方法,以分析图像构成为基础,深入解读其中的佛教思想与世俗意义,进而探求该窟的总体营建思想。第55窟中心佛坛上塑像与窟顶西披的弥勒变构成绘塑结合的弥勒三会,共同决定着该窟的弥勒信仰;窟顶四披的四铺经变共同反映了十方诸佛共集一会的思想,且以弥勒净土为核心,涵盖其他经变所代表的诸佛国净土;佛坛背屏前后的图像结合有着极为强烈的政治象征意味;主室东壁的七佛、《金光明经变》与《密严经变》的组合,体现出持戒、忏悔的石窟营造动机,同时与窟顶西披《弥勒经变》中所强调的持戒观念相呼应;主室南北壁是《弥勒经变》与《天请问经变》、《观无量寿经变》与《药师变》、《思益梵天所问经变》与《报恩经变》、《佛顶尊胜陀罗尼经变》与《观音经变》四组图像,其中《观无量寿经变》与《东方药师净土变》居于主导地位,在以弥勒思想为中心的洞窟思想表达中,给信众以不同方位、不同层次的礼忏往生次序。第55窟融世俗理念于宗教造像之中。在世俗功利方面,忏悔、度亡、得生弥勒净土是该窟主要的营造动机,在表达这一动机时,图像的配置体现出石窟营建者缜密的设计理念;宗教理想方面,该窟沿袭敦煌石窟的造像传统,佛坛与窟顶图像的配置重视弥勒语境的营造,并注重与诸壁图像的联系和呼应,体现广度众生的弥勒精神和对多种净土的融摄。反映了窟主作为地方最高统治者,在以弥勒信仰为中心的石窟营建中,祈愿众生皆能实现往生净土之愿望。第55窟的营建,在彰显曹氏家族声望与势力的同时,也表现出曹元忠独特的融宗教于政治治域理念。该窟的营建不仅表现出曹元忠对佛教的崇信与皈依,更是曹氏家族在敦煌历史上作出重要功绩的见证。
[Abstract]:Cao Gui Rebellion was the local power of the five dynasties, Song Dunhuang.Cao's successive dynasties made most of them worship Buddhism, which had a profound influence on the development of Dunhuang Buddhism and the construction of grottoes.Cave 55 of Mogao Grottoes was built between 962-964, and Caoyuanzhong was made by the fourth Chao Gui Rebellion.In addition to the provider of the later image cover repainting, other statues and murals are original.Whether it is the selection and combination of sculptures and scriptures, or the religious and secular significance embodied in the grottoes, the grottoes are representative in Dunhuang grottoes.On the basis of the existing research results, this paper uses the methods of archaeology, philology, religion, and imageology, based on the analysis of the image constitution, deeply interprets the Buddhist thought and the secular significance, and then probes into the overall construction thought of the cave.The statue on the Buddha altar in the center of the cave and the Maitreya transformation in the west of the cave top constitute the three Maitreya meetings that combine the painting and sculpture, which jointly determine the Maitreya belief in the cave, and the changes in the four shops of the cave top four drape jointly reflect the thought of the common meeting of the Buddhas from all sides.And with the Maitreya Pure Land as the core, covering the Pure Land of the other Buddhist countries represented by the changes; the combination of images before and after the back screen of the Buddha altar has a very strong political symbolism; and the seven Buddhas on the east side of the main chamber, the combination of "Jin Guangming's change" and "Miyan Sutra change",At the same time, it reflects the motive of holding precepts and repentance, and at the same time echoes the idea of precepts emphasized in Maitreya Sutra.The north and south walls of the main chamber are "Maitreya Sutra" and "Tian Tian's change", "View infinitesimal Life Sutra change" and "Pharmacists change", < Siyi Van Fantian asked about the Sutra change > and < return of Grace Sutra change >, < Buddha Dun Shengsheng Tuoroni Sutra change > and < Quan Yin Classic > four groups of images.Among them, "the Sutra of the endless Life" and "the Pure Land change of the Oriental Pharmacists" occupy the leading position. In the expression of the grotto thought centered on Maitreya thought, the believers are given different directions and different levels of the order of the Rite repentance.Cave 55 blends secular ideas into religious statues.In the aspect of secular utility, repentance, death, living in Maitreya Pure Land is the main motive of the cave. When expressing this motive, the image configuration reflects the careful design idea of the cave builder and the religious ideal.The cave follows the tradition of the statue of Dunhuang Grottoes. The allocation of the images of the Buddha altar and the top of the grottoes pays attention to the construction of Maitreya context, and pays attention to the connection and echo with the images of the walls, reflecting the spirit of Maitreya of all living beings and the combination of various pure lands.It reflects that the master of the grottoes, as the local supreme ruler, in the cave construction centered on Maitreya faith, wishes that all living beings can realize the wish of dying in the Pure Land.The construction of Cave No. 55 not only shows the prestige and influence of Cao's family, but also shows Cao Yuanzhong's unique concept of integrating religion into political governance.The construction of the cave not only shows Cao Yuanzhong's worship and conversion to Buddhism, but also testifies to the important achievements made by the Cao family in Dunhuang history.
【学位授予单位】：兰州大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：K879.21
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本文编号：1737912