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Yulin Grottoes Murals and Related Textual Research of Cav..
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Yulin Grottoes Murals and Related Textual Research of Cave 3
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Author:
Jia Weiwei
;
Language:
Chinese
Page:
405
Publication Date:
08/2020
ISBN:
9787308165471
Publisher:
Zhejiang University Press
Details
《榆林窟:第三窟壁画与文本研究》在前人尤其是进入21世纪之后学者的研究成果的基础上。选择榆林窟第3窟这一营建于西夏时期的窟室作为研究对象,挖掘梵、藏、汉与西夏文文献记录的珍贵信息,要解决的核心问题是榆林窟第3窟壁画的题材内容及其配置内涵。透过榆林窟第3窟的图像,可以较为清晰地看到西夏人对汉地大乘佛教和密宗
《榆林窟:第三窟壁画与文本研究》着重讨论的时代,即10~13世纪,是中国历史上的重要时期,其间经历了各民族文化的互相交流、融合,涌现出很多全新的艺术现象和图像样式,党项、吐蕃、回鹘、汉等族在河西地区均留下了各自的生活痕迹,反映在石窟壁画艺术方面就是壁画内容的多元性和宗教思想的复杂性。10~13世纪的中原人士和印度僧团互相交往,创造了继唐代前往西土求取佛经盛况之后的又一个求法高峰,这一时期开辟出来的取经路线使得印度、中亚地区的造像题材和艺术风格顺利进入中原,河西地区佛教艺术中出现与藏西、卫藏几乎同时甚或更早的题材和风格,这在西夏石窟壁画、佛经插图、卷轴画等作品中都有印证。由于历史原因,卫藏地区鲜有12世纪之前的作品留存,西藏西部的早期石窟壁画与河西石窟群内的西夏时期壁画便成为早受到10世纪末至11世纪初新译密典影响的一批作品,敦煌西夏石窟壁画是反映河西密宗艺术早期面貌的珍贵材料,并且深刻影响了元代造像,大黑天、顶髻尊胜佛母、毗沙门天王并八大马主组像、新样文殊五尊像、黄色二臂般若佛母等题材都是由元人直接从西夏继承而来。
佛教的虔诚信仰,对显密两种体系造像的熟悉以及对多民族文化借鉴、融合并积极创新的精深见解,而且窟内图像体现出的与河西地区西夏时期其他壁画艺术相近的特点也有望成为研究相关艺术现象的突破口。
Table of Contents
绪论
第一章 西夏佛教信仰的特征与11~13世纪多民族艺术交流
第一节 党项民族和西夏政权时期的佛教信仰
第二节 10世纪末的佛教复兴及西夏与周边各民族的佛教交流
第三节 榆林窟第3窟壁画
第二章 榆林窟第3窟显教图像研究
第一节 八塔变
第二节 净土变
第三节 文殊、普贤菩萨并侍从像
第三章 榆林窟第3窟密教图像研究(上)
第一节 千手观音
第二节 顶髻尊胜佛母曼荼罗
第三节 摩利支天曼荼罗
第四章 榆林窟第3窟密教图像研究(下)
第一节 金刚界曼荼罗
第二节 恶趣清净曼荼罗
第三节 不空羂索观音曼荼罗五尊像
第四节 五护陀罗尼佛母
第五章 榆林窟第3窟图像来源与配置内涵
第一节 巴哩系成就法对西夏佛教造像的影响
第二节 榆林窟第3窟的图像配置内涵
结语
附录
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