敦煌壁画《五台山图》新考——以莫高窟第61窟为中心

A Case Study on Wutai Mountains in Mogao Cave 61

归义军曹氏第四任节度使曹元忠于后晋天福九年(944年)嗣任故兄曹元深之位至后周显德二年(955年)诏赐其"沙州节度使"的十一年间,系以"沙州留后"身份统治敦煌,莫高窟第61窟正是这一"非常时期"敦煌以文殊信仰为主导的佛教文化的物质性再现。该窟借鉴了初唐以来莫高窟《维摩变》与《文殊变》相对表现的空间格局与视觉经验,中心佛坛文殊造像与西壁《五台山图》实际上直接脱胎于吐蕃统治敦煌以来塑绘结合的《文殊变》,并因第61窟史无前例的文殊主题,相应有极大拓展,基于佛坛文殊造像之需要,曹氏画院运用"空间单元"图式结构,重构了中唐《文殊变》中的《五台山图》,赋予其"独立"而宏大的格局,并在以文殊造像为中心的文殊语境中,实现了以《文殊变》与《维摩变》对应结构为主体的宗教与图像内涵的紧密结合。

The Mogao Cave 61, commissioned by Cao Yuanzhong and his wife between 944 and 955 AD, is one of the most important caves at Dunhuang. The current author attempts to explore Buddhist culture and visual image during the Cao Yuanzhong era through a case study on Cave 61. The focus is on the pictorial programme, visual significance and religious implications, especially the spatial logic and visual significance, of the representative images Wutai Mountains and Vimalakirti Stra Tableau. It is pointed out that Manjusri Tableau during the Tibetan period （mid Tang dynasty, 781-848 AD） was the fountainhead of Cave 61. Cave 61 was designed with a new spatial logic by reconstituting the traditional Manjusri Tableau, Vimalakirti Satra Tableau, Wutai Mountains, Saddbarmapundarika Satra Tableau, Buddbdvatamsakamahdvaipulya Satra Tableau and Lankdvatdra Satra Tableau. In summary, Cave 61 with evident political intensions is the physical appearance resulting from historical context, involving factors such as nation, era, social class, religion and politics.