摘要
从敦煌壁画《微妙比丘尼变》看历史上的中印文化交流史苇湘中国和印度是亚洲两个历史悠久的古国,虽然地理上远隔千山万水,但在近二千年的岁月中,友好往来、文化交流从未中断。回忆中国古代先哲们为了寻求佛典,无一不是千辛万苦、九死一生来到印度,除了学习佛教知识,...
hirty years ago,the author discovered the Weimiao Biqiuni Bian微妙比丘尼变(The Illustration of Bhiksuni Suksma)in cave no. 296 of the Mogao Grottoes while hecopied the Dunhuang murals. This was hewn during the Northern Zhou北周period(557-580 AD).On both the western and northern slopes of the roof is drawn the story of anancient Indian woman who had suffered all kind of misfortunes and was finally beingthrown out of the society. She was taken into the Buddhist holy order out of despera-tion. In the text of the sutra the story is narrated in first person singular. The mural hasre-arranged the episodes into sequence.The visual begins with her previous lives andthen comes to her present life. The painting with 24 scenes originated in the latter part of the 6th century, but itsinfluence has been very profound. It was copied in the “screen paintings”during the laterperiod of the Mogao Grottoes. Comparing the painting with chinese Tripitaka, such asFoshuo funu guyu jing佛说妇女辜遇经(Sutra about a suffering widow told by the Bud-dha),Xianyu jing贤愚经(Sutra for the sagacious and fool), Dafangbianfo bao′en jing大方便佛报恩经(Sutra of Mahopani Buddha on gratitude towards parents),and Genben-shuoyiqie youbu pi′naiye zashi根本说一切有部毗奈耶杂事(Events from the Mula-Sar-vastivada-Vinaya),it can be seen that the illustration in Mogao Cave no. 296 was。paint-ed according to Xianyu jing. The story of Bhiksuni Suksma has later on influenced people’s life and some sort oftradition which is still prevalent and popular in Northernwest China.
出处
《敦煌研究》
CSSCI
北大核心
1995年第2期8-12,共5页
Dunhuang Research