克孜尔中心柱窟的图像构成

【作者】 任平山；

【导师】 罗世平；

【作者基本信息】 中央美术学院 ， 美术学， 2007， 博士

【摘要】 中心柱窟是克孜尔拥有系统壁画数量最多的窟形,其图像结构非常稳定,是克孜尔佛教艺术的典型代表。许多学者认为克孜尔中心柱窟图像构成是小乘说一切有部一佛一菩萨(弥勒)崇拜的反映。本文首先探讨了说一切有部对弥勒菩萨的态度。从与说一切有部相关的典籍中检索出有关弥勒的文献并进行分析,最后发现这个部派其实反对弥勒崇拜。这迫使我们重新审视传统理论的两个方面——克孜尔的教派属性,以及弥勒菩萨的图像志。在探讨龟茲地区的佛教部派问题时,我们工作的重点不仅在于情报收集,更在于对这些情报的可靠性和有效性进行分析。结果仍旧确认龟茲地区以小乘佛教为主。在另一方面,通过对交脚菩萨造像的图像研究,笔者认为克孜尔中心柱窟中的兜率天说法菩萨不是弥勒,而是释迦。我们找到了释迦菩萨造像的先例,以及他在克孜尔石窟中存在的证据。依此,我们重新讨论了克孜尔中心柱窟内部不同图像的象征含义及图像间的相互关系,并以此确立了一个新的读图程序——观众进入石窟,首先礼拜正壁龛像,然后从前壁释迦兜率天说法图开始阅读佛传,这中间掠过的券顶菱格代表了对人类存在与往事的追忆。这种读图程序来自对有部经藏阅读体验的模仿。克孜尔中心柱窟分为主室和后室两大空间,后室固定绘制以涅槃为主题的壁画,过去有观点认为这些图像是绕中心柱读图的一个过程。笔者从说一切有部佛学观点出发,认为后室涅槃图像是整个石窟图像阅读的终点,主室和后室的图像关系体现了说一切有部以“有为”、“无为”统摄一切法的思想。最后,我们发现克孜尔石窟壁画反映出对帝释天的重视,它代表了对龟茲国王护持佛法的肯定和期许。更多还原

【Abstract】 Most systematic mural paintings of Kizil caves were drew in those Central-pillar caves. And in these caves, same paintings were always collocated in same place changelessly in according to their attribute. So we believe that the Central-pillar cave is representative when it comes to Buddhism art in Kizil. Lot’s of researchers believe that those paintings and the structure, which was made by those paintings in the Central-pillar cave, reflected that the monks of the Sarvastivadins apotheosized Buddha Sakyamuni and Bodhisattva Maitreya. However in this paper, the Sarvastivadins’s opinion of the worship of Maitreya was discussed firstly. By searching and analyzing those paragraphs located with Maitreya in the Sarvastivadins’s sutra, we found that this Buddhism school stood in an opponent point of the worship of Maitreya. The finding made us to consider two different aspect of tradition viewpoint again. They were the attribute of the Buddhism school in Kizil and the iconography of Bodhisattva Maitreya in Kizil.When we researched the attribute of religion there,we emphasized the analysis of the reliability and the validity of those information beside collecting them. As a result, we affirmed still that Hinayana was popular in this area for a long time. In the other hand, we researched the icon of so-called Bodhisattva Maitreya in Kizil Central-pillar caves, which brought problems. I believed that the Bodhisattva is not Maitreya, but Sakyamuni. We found the precedent of his icon and we also provided evidence to say that this kind of icon was painted in Kizil caves. Hereby, we discussed newly the relationship between those paintings in Kizil Central-pillar caves and the symbolic meaning of them. And then, we found a new program to appreciate these mural paintings. After entering the Kizil Central-pillar cave, the audience firstly saluted Buddha statue in the niche in the frontispiece of the Central-pillar, and then appreciated the stories of Buddha Sakyamuni which started from the story of Bodhisattva Sakyamuni actually. Between the Buddha statue and the painting of Bodhisattva Sakyamuni, there were the top of the cave where the sky, the chain of mountains and the Jataka were painted. It seems that there was the same experience between reading a Sarvastivadin’s Dirghagama-sutra and appreciating those paintings in Kizil Central-pillar caves. One cave was structured by a main room and a back room include two channels beside it. The theme of those mural paintings in back room was Nirvana, always. Some researchers believe that these pictures belong to the middle part of the whole appreciation program. But through our study of Sarvastivadin’s philosophy, I thought that it was actually the end of the program. The relationship of those paintings in main room and them in back room showed us an idea of the Sarvastivadins that all things and existence in the world could be classed to Samskrta and Asamskrta. At last, we found that the designer of some caves showed that they are the adorers of Sakra-devanam-indra. It presented the monks’s praise and the expectation for the support of their King.更多还原