佛教考古研究中的“中心环节缺失”现象——以敦煌和四川的唐代瑞像为例

The Phenomenon of "Lack of Central Link" in the Study of Buddhist Archaeology:Take the Tang Dynasty Statues of Dunhuang and Sichuan as an Example

唐代的敦煌壁画与四川摩崖造像在瑞像的题材和图像上相似度较高,但二者之间的媒介应是唐代的佛教传播中心——长安。阿弥陀佛与五十菩萨图像隋代自北齐地区传入长安;贞观初年传入四川北部;贞观十四年前后传入敦煌,其间,令狐家族可能担当了重要媒介。敦煌"于阗样式"天王像的出现与车道政传像入长安事件有关;"新样式"天王像综合了于阗样式与长安样式;吐蕃占领敦煌时期产生的吐蕃式毗沙门天王像,流传到了长安后又传到日本和我国四川。研究不同地区造像时不能忽视"中心环节"的媒介作用。

Dunhuang murals in Tang dynasty and cliff sculptures in Sichuan have a high similarity in subject matter and image,but the media between them should be Chang’an,the Buddhist communication center in Tang dynasty.The images of Amitabha and fifty Bodhisattvas were introduced to Chang’an from the Northern Qi region in the Sui dynasty,to northern Sichuan in the early years of Zhenguan,and to Dunhuang around the 14 th year of Zhenguan,during which Linghu family may play an important role in media.The appearance of the"Khotan style"Vaisravana statue in Dunhuang is related to the event that the image of driveway politics was transferred from Chang’an;the"new style"Vaisravana statue integrated Khotan style and Chang’an style;the Tubo style Vaisravana statue produced during the occupation of Dunhuang by Tubo spread to Chang’an and then spread to Japan and Sichuan,China.The media function of"central link"should not be ignored in the study of image making in different areas.