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| 從《五臺山圖》與供養人圖像探討第61窟的外交功能=A Study of the Diplomatic Function of Mogao Cave 61 seen through the Mount Wutai Painting and Donor Imagery | ||
| 作者 | 許絹惠 (著) |
|---|---|
| 出處題名 | 敦煌學=Studies on Tun-Huang |
| 卷期 | n.41 |
| 出版日期 | 2025.08 |
| 頁次 | 123 - 148 |
| 出版者 | 南華大學敦煌學研究中心 |
| 出版者網址 | https://nhdh.nhu.edu.tw/Web/Index |
| 出版地 | 嘉義縣, 臺灣 [Chia-i hsien, Taiwan] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 關鍵詞 | 第61窟=Cave 61; 文殊堂=Manjusri Hall; 《五臺山圖》=Mount Wutai Painting; 于闐=Khotan; 毗沙門天王=Vaiśravaņa |
| 摘要 | 敦煌石窟現存的《五臺山圖》共有十二鋪及一幅絹畫，其中第61窟主室西壁所繪通舖《五臺山圖》，是敦煌目前所見規模最大者，歷來已有諸多學者針對敦煌《五臺山圖》進行深入研究，並對第61窟進行專門探討。本文在前人研究的基礎上，注意到第61窟西壁《五臺山圖》在中臺之頂南北兩側的特殊配置：南側繪有毗沙門天王，北側則為觀世音菩薩。這一圖像組合並未出現在其他石窟的《五臺山圖》中，且至目前為止尚未見學者進行深入研究。此外，第61窟內供養人的組成與排列順序也有其特徵：即窟內供養人並非以石窟施主為主要對象，而是以與施主具有聯姻關係者為主，所顯示的政治意涵相當值得注意。值得關注的是，這兩個元素同時出現在61窟中，反映了窟主曹元忠對石窟圖像設計與空間運用的深思熟慮，並體現其將佛教信仰作為政治與外交手段的策略。本文擬以第61窟《五臺山圖》為研究核心，探討曹元忠如何透過佛教圖像的選擇與安排，使得第61窟的空間具備外交功能。 Among the twelve extant depictions of Mount Wutai in the Dunhuang caves, the full-wall painting on the west wall of the main chamber in Cave 61 is the largest scale currently seen in Dunhuang. Historically, numerous scholars have already conducted in-depth research on the Dunhuang Mount Wutai murals, with specific discussions dedicated to Cave 61. Building upon the foundation of previous research, this study notes a special configuration at the top center of the west wall's Mount Wutai painting in Cave 61: on the left is painted Vaiśravaņa (毗沙門天王), and on the right appears Avalokiteśvara (觀世音菩薩). This iconographic pairing has not appeared in the Mount Wutai paintings of other caves, and thus far, no scholars have been observed to conduct in-depth research on it. Furthermore, the composition and sequential arrangement of the donor figures in Cave 61 also possess their own distinct characteristics: the donors inside the cave are not primarily focused on the cave's patron himself, but rather on individuals who hold marriage-related alliances with the patron, which suggests political implications that are highly worthy of attention. What is worthy of note is that the simultaneous appearance of these two elements in Cave 61 reflects the cave patron Cao Yuanzhong's (曹元忠) profound consideration in the design of the cave's iconography and spatial arrangement, and embodies his strategy of utilizing the Buddhist faith as a means of political and diplomatic action. This paper proposes to take the Mount Wutai painting in Cave 61 as its core research subject, exploring how Cao Yuanzhong, through the selection and arrangement of Buddhist iconography, made the space of Cave 61 possess a diplomatic function. |
| 目次 | 一、前言 126 二、第61窟《五臺山圖》的構圖與特色 126 三、毗沙門、觀音信仰在于闐、回鶻的發展 133 （一）毗沙門天王 133 （二）觀世音菩薩 137 四、供養人圖像的排序與象徵 139 五、第61窟的外交功能詮釋 141 六、結語 144 |
| ISSN | 10159339 (P) |
| 點閱次數 | 1 |
| 建檔日期 | 2026.01.26 |
| 更新日期 | 2026.01.26 |
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