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| 從牽獅人、騎獅人到馭獅人 - 敦煌文殊菩薩“新樣”溯源新探=From the Lion-leading Person and Lion Rider to the Lion Driver - A New Study on the Origin of the New Styled Image of Manjusri Bodhisattva at Dunhuang | ||
| 作者 | 葛承雍 (著)=Ge, Cheng-yong (au.) |
|---|---|
| 出處題名 | 敦煌研究=Dunhuang Research |
| 卷期 | n.5 (總號=n.195) |
| 出版日期 | 2022 |
| 頁次 | 1 - 10 |
| 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：陜西師范大學人文社會科學高等研究院敦煌研究院絲路研究中心 |
| 關鍵詞 | 敦煌=Dunhuang; 人獅共存圖像=Co-existent images of lion and people; 東西文化交流=Western and Eastern cultural exchange; 文殊菩薩=Manjusri Bodhisattva |
| 摘要 | 唐開元廿五年（737）貞順皇后石槨線刻畫所體現的希臘化藝術“拂菻畫”，其不追求獅與人的寫實性，而是體現人獅共存的神圣性，圖畫展露出英雄勇士、須髯老頭、卷發青年與獅同行的場景，提供了牽獅、騎獅、馭獅的圖像源流。從盛唐牽獅人、騎獅人、馭獅人的開創性圖畫中，經過與中晚唐敦煌絹畫、紙畫、壁畫上昆侖奴牽獅、文殊菩薩騎獅、于闐王馭獅等相比鑒，可見從長安到敦煌的藝術圖像脈動十分密切。東西方文化交流的傳世之作，通過希臘藝術到佛教藝術、皇家畫師到地方畫匠、京師長安到州縣敦煌的逐漸“華化”中，揭示了文殊菩薩“蕃胡牽獅”傳播背后的原因，破解了長達千年來“文殊菩薩新樣”經典藝術的來龍去脈，展示了盛唐時期文化交流的卓異風采。 The “Byzantine Paintings”, a type of Hellenistic art reflected in the line carvings on Queen Zhenshun’s Stone Coffin dating from the 25th year of Kaiyuan era （737 CE） during the Tang dynasty, were not meant to represent the realistic images of lions and people, but the divinity of the co-existence of lions and people. The scenes of a heroic warrior, an old man with whiskers or a young man with curved hair travelling with a lion in the paintings provide rich information about the origin of the images of a person leading, riding or driving a lion. Comparing the images of lion-leading, lion-rider, and lion-driving persons in the creative paintings of the High Tang period with those of Kunlunnu （people mainly coming from southeast Asia serving as slavers) leading a lion, Manjusri Bodhisattva riding a lion and the King of Khotan driving a lion in the silk, paper and wall paintings of the Middle and Late Tang period, it can be seen that there was a close interaction between the artistic images on the route from Chang’an to Dunhuang. The masterpieces as a result of the Eastern and Western cultural exchanges have provided clues to the gradual Sinicization route from Greek art to Buddhist art, from royal painters to local painters, and from capital Chang’an to prefecture Dunhuang, explained why the image of Manjusri Bodhisattva’s “non-Han Chinese lion-leading person” was disseminated, demonstrated the evolution history of the classic art of the “new-styled Manjusri Bodhisattva” in a thousand years, and exhibited the remarkable cultural exchanges in the High Tang period. |
| 目次 | 一獅子造型藝術由西向東的傳播 二從武惠妃石槨拂菻畫到敦煌畫稿 三中晚唐以后文殊菩薩“新樣”的圖本改造 |
| ISSN | 10004106 (P) |
| DOI | 10.13584/j.cnki.issn1000-4106.2022.05.001 |
| 點閱次數 | 182 |
| 建檔日期 | 2023.04.17 |
| 更新日期 | 2023.04.17 |
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