敦煌石窟本生故事画的形式——以睒子本生图为中心

The forms of Jataka stories illustrated in Dunhuang Grottoes:Focusing on the illustrations to Samaka Jataka

啖子本生图盛行于北朝时期,莫高窟与西千佛洞保存着诸多图例。啖子故事以孝道为主题与中国传统伦理道德思想十分吻合,特别是北周至隋代十分流行。本文主要分析啖子本生图,对其构图形式,即横幅多场景画卷形式的展开与样式上的发展进行探讨;并与印度、犍陀罗、克孜尔及麦积山、云冈石窟的例证进行比较,详细验证敦煌壁画中啖子本生的画卷形式、连环画形式及异时同图法等,认为敦煌壁画中的睒子本生并非汉代传统形式的延续,而是在印度·犍陀罗的影响之下所形成的。

The illustration of Samaka Jataka, which mainly advocated the filial piety, was very consistent with traditional moral ideas of China, was popular in the Northern Dynasties, particularly in the period from the Northern Zhou to the Sui dynasties. Many examples have been preserved in Mogao Grottoes and the Western Caves of Thousand Buddhas. This article mainly studies illustrations of Samaka Jataka and discusses the development of the compositions, namely spread of the horizontal multi-scene painting and the evolvement of its forms. By comparing present examples in India, Gandhara, Kizil, Maijishan and Yungang Grottoes, and by in-vestigating the scroll painting, story painting strip of Samaka Jataka in Dunhuang Murals and its representing methods of depicting episodes of different periods together in one painting, the author thinks that Samaka Jatakain Dunhuang Murals derived from Indian and Gandharan prototypes rather than traditional Han Dynasty ones.