吐蕃统治下一位唐人画师的民族情结——以瓜州榆林窟第25窟婚嫁图和老人入墓图为例

A Han Chinese Painter of National Emotion Ruled By The Tibetan Empire—The Marriage figure and The elder enter into the tomb figure in Yulin Cave 25 at Guazhou,for example

瓜州榆林窟第25窟的婚嫁图与老人入墓图,同在石窟主室北壁弥勒经变中。通过对两幅图像的仔细对照,发现了一些相似度很高的细节:出现同戴透额罗幞头的一身男子像、同行叉手礼的一身男子像、同画并排站立的三位唐装女子、画面构图中心的转移。以此现象为中心,具体分析两幅图像中的人物,相互之间应该具有密切的关系,各自可以理解为同一人物在不同时期的人生场景再现。尤其是在婚嫁图中行叉手礼、着吐蕃装的吐蕃新郎,而到了老人入墓图中却是身着唐服的形象,图像本身可以认为是一幅反映吐蕃人汉化的历史图像,但实际上并不是历史的真实写照,而是表达画师对吐蕃统治下"辫发易服"民族同化政策的不满与抵触,同时似乎赋予恢复唐人统治的政治寓意。

The Marriage figure and the elder enter into the tomb figure were both at the Maitreya Sutra north of center room in Cave 25 at Yulin Grottoes. Through careful comparison of two images,I found some similar details：two men wearing same pierced cap, two man giving a cross hand salute,three Tang suit women standing side by side and the shifting of the image center.Take these phenomenon as the key point, I made a specific analysis of the person appeared in those two images,they should be familiar with each other,separately stand for different life period of the same one. Especially in the Marriage figure, the Tibetan Empire bridegroom wearing Tibetan Empire cloth,yet in another image,the cloth of him changed into the Tang suit.These images themselves could be considered as a picture reflect the Chine-size of the Tibetan Empire.But in fact,it wasn＇t the truly historical reflection,it was the painter express his dissatisfied and contradict to the national assimilation policy ruled by the Tibetan Empire-bl-aided the hair and changed into the Tibetan clothes.Meanwhile it seems showed the moral that the Tang people want to regain their provenance.