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| 北朝石窟視閾下高句麗墓葬壁畫中的佛教元素 - 以長川1號墓為中心=Buddhist Themes in the Murals of the Goguryeo Tombs - Centering on Tomb No.1 in Changchuan | ||
| 作者 | 王俊錚 (著)=Wang, Jun-zheng (au.) |
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| 出處題名 | 敦煌研究=Dunhuang Research |
| 卷期 | n.3 (總號=n.193) |
| 出版日期 | 2022 |
| 頁次 | 56 - 70 |
| 出版者 | 敦煌研究編輯部 |
| 出版者網址 | http://www.dha.ac.cn/ |
| 出版地 | 蘭州, 中國 [Lanzhou, China] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 附註項 | 作者單位：阿穆爾國立大學宗教學與歷史教研室 |
| 關鍵詞 | 高句麗佛教=Goguryeo Buddhism; 長川1號墓=Changchuan Tomb No.1; 禮佛圖=scene of worshipping the Buddha; 飛天=apsaras; 莫高窟=Mogao Grottoes |
| 摘要 | 以集安長川1號墓壁畫為代表的高句麗佛教元素對“涼州模式”“平城模式”“洛陽模式”等北朝石窟有不同程度的吸收和繼承。通過將其與以武威天梯山、永靖炳靈寺第169窟、敦煌莫高窟北涼三窟等為代表的“涼州模式”石窟的比對，顯露出文化傳播的痕跡。集安長川1號墓禮佛圖布局、釋迦主佛、飛天、供養菩薩等佛教元素已不同程度可見高句麗對北朝中原和河西佛教傳統的繼承和發展，供養菩薩花蔓冠、蓮花化生等在形態上反映了與西域的淵源關系。關于飛天，與莫高窟西魏石窟飛天存在諸多相似，與龍門石窟、鞏義石窟、義縣萬佛堂石窟的飛天形態則愈加接近，這也從側面反映了飛天這一中古時代重要的佛教元素在中國北方的傳播和流變。 The murals of Goguryeo, represented by Tomb No. 1 in Changchuan, Ji'an City, inherited many Buddhist themes from cave temples created during the Northern Dynasties. The extent to which this influence was absorbed varies between murals, though the artistic styles they embody can be divided into the “Liangzhou model,” the “Pingcheng model,” and the “Luoyang model.” A comparison of the murals in the abovementioned tomb with caves built according to the “Liangzhou model,” otherwise represented by the Tiantishan Grottoes in Wuwei, cave 169 of the Binglingsi Grottoes in Yongjing, and the three “Northern Liang caves” of the Mogao Grottoes in Dunhuang, reveals distinct traces of a gradual process of cultural dissemination. Buddhist elements in the tomb at Changchuan include the layout of a scene in which laity worship the Buddha, and depictions of Sakyamuni, apsaras, and attendant bodhisattvas, all of which show clearly that Goguryeo Buddhism inherited and built on the Buddhism of the Northern Dynasties from the Central Plains and Hexi. The detail of adding flower crowns to attendant bodhisattvas and reincarnations positioned on lotus flowers indicate that the Buddhism of the region was also closely related to the culture of the Western Regions. Furthermore, the apsaras depicted in the murals have much in common with similar images found in the Western Wei caves at Mogao and closely resemble paintings of apsaras in the Longmen Grottoes, the Gongyi Grottoes, and the Wanfotang Grottoes. The prevalence of this motif throughout cave murals from the same period reflects the spread and evolution of apsara as an important element of medieval Buddhism in northern China. |
| 目次 | 一長川1號墓的壁畫布局與年代 二高句麗墓葬壁畫中的佛教元素 （一）禮佛圖 （二）飛天 （三）菩薩 三高句麗墓葬壁畫中的蓮花與蓮花化生 四總結：南北朝時空背景中的高句麗佛教 |
| ISSN | 10004106 (P) |
| DOI | 10.13584/j.cnki.issn1000-4106.2022.03.009 |
| 點閱次數 | 120 |
| 建檔日期 | 2023.04.07 |
| 更新日期 | 2023.04.07 |
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