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| 敦煌莫高窟第285窟西壁壁畫中的星宿圖像與石窟整體的構想=On the Construction and Astral Deity Depictions of Mogao Cave 285 | ||
| 作者 | 檜山智美 (著)=Hiyama, Satomi (au.) ; 藺君茹 (譯)=Lin, Jun-ru (tr.) |
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| 出處題名 | 敦煌研究=Dunhuang Research |
| 卷期 | n.4 (總號=n.194) |
| 出版日期 | 2022 |
| 頁次 | 51 - 65 |
| 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：京都大學白眉中心 譯者單位：人文科學研究所敦煌研究院陳列中心 |
| 關鍵詞 | 莫高窟第285窟=Mogao Cave 285; 西魏=Western Wei; 東陽王元榮=Yuan Rong, "Prince of Dongyang"; 星宿圖像=astral deities; 昴宿=North Star; 占術大集成=Krttikā Brhatsamhitā; 大方等大集經=Mahāsamnipāta-sūtra (T 397); (口厭)噠=Hephthalites |
| 摘要 | 西魏時期營建的敦煌莫高窟第285窟西壁，描繪有各種各樣的印度系神格像，西壁上部帶狀區域描繪的日天和月天之間的星宿圖像，有學者認為是北斗七星和南斗六星，但問題是具有同樣圖像特征的北斗七星和南斗六星像在東亞并不存在，與占據西壁大部分的印度系神格像的關系也不明確。第285窟壁畫中，將伏羲、女媧納入佛教偽經《須彌四域經》的世界觀來表現頂部壁畫，將印度系的各種神靈納入佛教的《大集經》“日藏分”來表現西壁壁畫，從這一點來看，兩者共有基本框架。東陽王元榮通過在佛教框架下營造明顯吸收異教信仰、將多宗教的要素混雜在一起的禮拜空間，試圖將居住在當時敦煌的持有不同宗教觀的人們融合在佛教的名義之下。 This paper investigates the iconographical content of the décor in Mogao Cave 285 based on a new interpretation of astral figures depicted in the upper register of the western （main） wall of the cave. The image of seven Brahmins depicted next to the moon god Chandra matches closely with a description of the saptarsi （the Seven Sages） in the Brhatsamhitā by Varāhamihira, while the six Bodhisattva-like male figures seated next to the sun god Sūrya can be identified as the Krttikā, the first lunar mansion among the naksatras, described in the Sūryagarbha-parivarta of the Mahāsamnipāta-sūtra （T397）. The painting on the western wall containing several Indian gods and astral deities can best be explained by the “Chapter of the Buddha’s Miraculous Performance” from the Sūryagarbha-parivarta. The décor of the western wall seems to share a fundamental design concept with the paintings on the ceiling, which depict cosmological images described in the apocryphal Buddhist text Sūtra of the Four Re- gions of Sumeru （Xumi-siyu-jing）. Despite having been painted in completely different styles, both paintings exhibit the common feature of incorporating deities of different religious origins into one visual system that is based on a Buddhist framework. This cave can thus be understood as an attempt to create a syncretistic ritual space, which reflects the multiethnic and multicultural milieu of Dunhuang in the Western Wei period. |
| 目次 | 前言 一敦煌莫高窟第285窟 二敦煌莫高窟第285窟的西壁壁畫 三敦煌莫高窟第285窟西壁星宿圖像的新解析 四關于敦煌莫高窟第285窟西壁的主題 五關于敦煌莫高窟第285窟莊嚴的整體主題 譯者按 |
| ISSN | 10004106 (P) |
| DOI | 10.13584/j.cnki.issn1000-4106.2022.04.009 |
| 點閱次數 | 159 |
| 建檔日期 | 2023.04.17 |
| 更新日期 | 2023.04.17 |
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