阴嘉政窟

【作者】 王中旭；

【导师】 罗世平；

【作者基本信息】 中央美术学院 ， 美术学， 2009， 博士

【摘要】 莫高窟第231窟是吐蕃时期敦煌世家大族阴嘉政家族开凿的家窟,完工于839年,主室壁画保存较好,集中了吐蕃时期流行最广、最具时代特点的新样式,是该时期最具代表性的洞窟之一。本文以阴嘉政窟具吐蕃时代特点的新样式为切入点,着重讨论了新样式出现的原因,图像布局的思想和洞窟的性质、功能。第一章结合“报恩君亲”的主题讨论了阴嘉政窟主室东壁的《阴嘉政父母供养像》、《帝王、赞普问疾图》,重点分析了窟主父母像和邈真之间的关系、《维摩变》下方帝王赞普问疾的政治内含,认为这两种图样隐晦、曲折地反映了窟主家族在异族统治下的复杂情感和唐朝正统情结。第二章在分析吐蕃时期主室西壁龛外两侧《文殊、普贤并侍从图》与法华、华严信仰关系的基础上,指出该图下方或取代该图位置的与五台山、普贤相关的屏风画应为《五台山化现图》、《普贤行愿(或化现)图》,认为国家正统意识,与普贤禅观、礼忏等相关的法事当是推动此类图像出现的重要因素。第三、四章在讨论连屏和礼俗之间关系的基础上,着重分析了阴嘉政窟南北壁三对经变对应的原因,认为洞窟为亡者、功德主死后归属提供了天宫、净土等不同层次、方位的选择,并探讨了吐蕃归义军时期经变图样和法事之间的关系。礼俗、法事是本文研究的两个重要切入点。阴家政窟礼俗化的特色主要体现在洞窟祀祖的功能、连屏的流行、经变与丧葬间的密切关系三个方面。除祀祖外,阴家政窟建成后也是一个能举办多种法事的清静道场,吐蕃归义军时期经变的增多当也是适应了一窟之内进行多种法事的需要。更多还原

【Abstract】 Mogao cave 231,which was built in 893,is the family cave of the famous family of Yin Jiazheng in Dunhuang.The cave is the reprehensive cave of Tibet.The mural of main room is protected well,which focused on the popular new style of that time. The essay focuses on the new style of Tibet in Yin Jiazheng’s cave,discusses the reason that the new style appeared,the idea of the composition of images and the cave’s character and function.Connecting with the subject of"Repay the obligation of Emperor and Parents",The first chapter discusses Yin Jiazheng’s Parents Donors and Chinese and Tibetan Emperors’ visiting in the east wall of the main room,analyses the relationship between Yin Jiazheng’s Parents and portraits,and the political meaning of emperors’ visiting in the lower part of Vimalakirti Bian,and considers that the two forms indirectly reflected the complicated feeling of the cave’s family when they were ruled by the non-han nationality and the feeling that they yearned for Tang Dynasty. After analyzing the relation between the Manjusri,Samantabhadra and attendants on the two sides of the niche of the west wall and the belief of Lotus Scripture and Huayan,The second chapter notes that the screen painting should be Wutai Mountain Hua Xian Tu and Puxian Xingyuan(or Hua Xian) Tu which are under the two paintings or instead of the two painting,and considers the country’s orthodox ideology,and religious rituals of Puxian Chan Contemplation and Lichan were the important elements that caused the appearance of these images.Discussing the relation between the screens and Lisu,The third and fourth chapters focus on the reason that Bianxiangs paralleled on the south and north walls and considers the cave provided for the death or donors the different choices in different levels and directions of Heavenly Palace and Pure Land,probes into the relation between the forms of Bianxian and religious rituals in Tibet and Guiyijun Times.Lisu and religious rituals are the two important points of the essay.The Lisu’s character of Yin Jiazheng’s cave embodies in three aspects,the function of memorial ceremonies for ancestors,the popularity of screens and the relation between Bianxiang and funerals.Except for memorial ceremonies for ancestors,Yin Jiazheng’s cave was a quiet place for holding all kind of religious rituals.That more and more Bianxiang appeared in Tibet and Guiyijun Times should be satisfied for the needs of holding diversified religious rituals in a cave.更多还原