【作者】 贾维维；

【导师】 谢继胜；

【作者基本信息】 首都师范大学 ， 美术学， 2014， 博士

【摘要】 榆林窟第3窟位于甘肃瓜州踏实河冲刷而成的河谷东岸,窟内壁画为西夏时期作品,是研究11-13世纪河西地区石窟艺术面貌、佛教信仰特征和多民族艺术交流史的重要遗存,因文献、碑铭、题记等材料欠缺,暂时无法判定确切的绘制年代。本文研究的核心问题是榆林3窟壁画的题材内容、文本依据和配置内涵,主要运用图像学和艺术史的方法分析图像构成与特点,运用历史文献学的方法挖掘梵、藏、汉、西夏文文献或出土文书中隐藏的关键信息,注重对榆林窟第3窟图像来源及传播路径的分析,并将其与河西走廊地区的其他一些西夏石窟壁画和佛教版画、卷轴画、雕塑作品作细致比较,试图构架起从整体上审视西夏石窟造像体系的理论框架。全文共分五章。第一章主要介绍10世纪末至13世纪党项民族和西夏政权时期佛教的发展盛况,追溯10世纪末中印之间开展的频繁佛教文化交流活动,分析党项西夏与宋、辽、回鹘等政权之间的佛教交流关系,将西夏佛教艺术放置到10-13世纪中国多民族文化交流史中加以理解。第二章至第四章是本文的主体内容。通过分析图像的构成内容和特征,仔细梳理汉、藏、梵文佛教经典中与榆林3窟图像密切相关的文本(陀罗尼、仪轨、成就法等),并检索西夏其他同题材造像与榆林3窟进行比对,可以看到榆林3窟的大多数密教题材是随着宋代中印之间频繁的佛教文化交流活动所带来的成就法的传译、仪轨的推行和带有东印度帕拉风格插图的梵文贝叶经的流通而传入河西走廊,在西夏石窟壁画中形成较为稳定的发展序列。第五章是从整体上把握榆林3窟壁画的图像特征,密教题材图像遵循的是以《巴哩成就百法》为代表的东印度波罗佛教造像传统,“显/密”两类图像在统一的建筑实体空间内得到“圆融”,传统佛教观念(辽代华严“圆教”、“净土”信仰)和新译密续主题并存,反映了西夏佛教发展的基本形态。榆林3窟壁画在图像志方面基本选择沿用东印度佛教造像传统,但在图像配置内涵方面则是遵循敦煌本地图像传承和信仰模式,浓缩体现了汉地早期大乘佛教信仰、唐代密宗信仰、吐蕃占领敦煌时期引入的带有东印度波罗艺术风格的造像传统以及11世纪梵藏文密续经典所记录的全新的图像体系,并受到回鹘、辽等少数民族政权宗教信仰的影响,是11-13世纪多民族跨地域文化交流史的浓缩体现。更多还原

【Abstract】 The Yulin cave3is located in the east bank of Tashi River at Guazhou in Gansu Province. The mural paintings were produced during Tangut period, but we cannot state an accurate date because of the absence of documentary records, tablets and inscriptions. The main purpose of this paper is to examine Yulin cave3murals’ iconographical content, textual resources and the implication of their visual composition. I take the methodology of Iconography and Art History to analyze the murals’ pictorial content and features, and take the philological methodology to search for the key historical information out of multi-linguistic materials, including Sanskrit, Tibetan, Chinese, Tangut Buddhist documents and excavated texts. I also lay great effort in the analysis of iconographical origin and transmission trace. Furthermore, a detailed comparative examination between Tangut grotto murals in Hexi corridor area and other Buddhist artworks like xylographs, scroll paintings, sculptures, etc. has been carried out. Based on the above investigations, this paper tries to build a theoretical system for interpreting the visual project of Tangut grotto murals.This paper contains five chapters. Chapter one mainly introduces the Buddhist development in Dangxiang ethnic group and tangut kingdom during11th-13th century, looks back at the cultural communications between Song China and India from the end of10th century, explores the close Buddhist connections between Tangut and other kingdoms/regions adjacent to it, such as Song, Liao, Uyghur, etc. The Tangut Buddhist art should be conceived in a historical background of multi-ethnic communication in11-13th century China.Chapter two to Chapter four are is main body of this paper. Based on my analysis of the iconographic content and features of Yulin cave3’s murals, the textual exploration of various Buddhist sutra, dharani, sadhana which are related to those topics under discussion, as well as the comparative inquires on Yulin cave3’s murals and the other Tangut artworks, we can get a sense that most esoteric themes in Yulin cave3are originated from Indian Buddhist iconographic tradition. They were transmitted to the Hexi corridor in the process of tantric-texts translation and illustrated manuscripts circulation brought by the cultural exchange activities between Indian and Inner China. These wholly new visual projects gradually form steady development lineage among Tangut grottos.Chapter five is to catch the whole pictorial structure of Yulin cave3. The esoteric representations basically follow the Buddhist iconographic tradition of Pala dynasty in East India, with Ba ri brgya rtsa (One hundred Sadhana of Ba ri lo tsa ba) as fundamental treatise. The esoteric and exoteric themes get perfectly integrated in one architectural space. Traditional Buddhist concept and newly-translated tantric themes are to be found coexisting. So this cave’s visual program is to-some-extent a reflection of Tangut Buddhist connotation.Generally, in terms of iconography, Yulin cave3chooses to follow the Buddhist artistic tradition in Eastern India, while in terms of the connotation of visual program, it shows succession to local historical, artistic and religious contextualization in Dunhuang. It turns out to a concentration of several influencing elements, including early Mahayana Buddhist belief in Han China, esoteric Buddhist belief during Tang dynasty, the Pala artistic representations in Dunhuang when Tubo kingdom was in control of this region, and the new iconographic system recorded in Sanskrit and Tibetan tantric texts since the11th century. It also receives influences from featured religious beliefs in bordering kingdoms or regions. Yulin cave3makes a great contribution to out understanding of the cross-cultural and trans-regional communication histories from11to13century.更多还原