莫高窟唐代《观音经变》中的观音画像及相关问题

Tang Dynasty Portraits of Guanyin in Mogao Grottoes and Related Issues

敦煌的观音救难信仰早在北凉时期就随着《普门品经》的流行而流行。到了唐代,这一信仰更加盛行。由此,与之相应的《观音经变》也大量出现。就莫高窟而言,此期的《观音经变》不仅反映了其对印度普门品变相图的继承与发展,而且反映了显性与隐性观音画像、三十三化身与世俗人物画、榜题与程式化等问题。本文就莫高窟唐代《观音经变》中的观音画像及相关问题进行分析与论述。

Belief in Guanyin salvation was already popular in Dunhuang during the Northern Liang dynasty when Samantamukha-parivarta was widely spread. By the Tang dynasty, as the followers increased, portraits of Guanyin emerged in great numbers. Such portraits from the Mogao Grottoes show close affinity with India Samantamukha-parivarta portraits. Related issues are explicit and implicit Guanyin portraits, thirty-three nirmanakaya and secular figures, inscriptions and stylization.