莫高窟唐代观音画像中的净瓶造型探析

The Style of Nectar Vessels in Tang Dynasty Guanyin Portraits from Mogao Grottoes

绘制于莫高窟唐代观音画像中的净瓶,数量庞大,造型多样,有着明显的地域和时代特点。本文通过大量取样、分类,以及与文献和出土实物相互印证,深入分析了莫高窟唐代观音画像中净瓶造型的发展、变化及成因。得出结论:一、净瓶造型主要分无盖、有盖、圆盘小颈和罐四大类,每一类中又有多种型、式;二、净瓶造型与文献记载和出土实物之间既有一致性,又保持了自身的丰富性和多样性;三、净瓶造型除受印度早期净瓶造型和佛典描述的净瓶造型影响外,还受到唐代瓷器、金银器以及萨珊、粟特、拜占庭、吐蕃等地金银器的影响,充分体现了多元文化环境下中外工艺美术的发展、交流,及其在佛教美术中的反映情况。

A lotof images of nectar vessels in diverse styles can be seen in Tang dynasty Guanyin portraits from the Mogao Grottoes, reflecting clear regional and dynastic features. By sampling and classif ying these images and comparing them with unearthed objects and historical records, the currentauthors trace their evolution and sources of influence. Nectar vessels in these images fall into four categories： a） withoutlid, b） with lid, c） with umbrella-shaped top and narrow neck, and d） with jar-like body. Some show similarities in shape to those unearthed or recorded in historical documents. Apar tfrom inf luences from early Indian prototypes and Buddhistscriptures, they also show influences of Tang ceramics and gold and silver from Tang China, Sassanid, Sogdia, the Byzantine Empire and Tubo, the resultof cultural diversity and technical exchanges.