图像角色的转换与形成——以敦煌石窟观音经变为中心

Image Formation and Transformation of Roles:Centrated on Avalokite vara-Sūtra Seen in Dunhuang Grottos

观音菩萨,因《妙法莲华经》的流传而深入人心,北凉时《观世音菩萨普门品》从《法华经》中被抽出来别行,成为《观音经》。敦煌石窟保存了大量依据《普门品》或《观音经》绘制的壁画,《观音经》变相完全从《法华经》变相中分离出来,则是在初唐时期。莫高窟第217窟东壁的观音题材经变是目前最早的具有完整意义的观音经变,而之前出现的观音题材类经变画均没有脱离《法华经》变相的范围,只是法华经变的一部分,准确地说应该称为观音普门品变或法华经变观音普门品。第217窟观音经变具有经变画的一般特征,中央出现了主尊说法像,且脱离了法华经变而独立存在。第217窟观音经变的出现,完成了观音菩萨图像从法华经变附属向独立经变角色的转变,使敦煌观音信仰从辅助向独立信仰功能转换,具有特殊意义,也对敦煌以后观音经变的发展产生了重要影响。

Dunhuang Grottoes preserved a lot on the basis of ＂Universal Door Chapter Of Avalokitesvara Bodhisattva＂or ＂Avalokitesvara＂painted murals.It is in The Early Tang Dynasty,Avalokitesvara-Sutra completely from Lotus Sutra.The Cave 217 of Mogao Grottoes goddess themes in East wall,is the earliest complete meaning of Avalokitesvara-Su tra,and goddess theme categories appears before the paintings are not outside the scope of the Lotus Su tra in disguise,only part of the Lotus Sutra,accurate should be known as ＂Universal Door Chapter Of Avalokitesvara Bodhisattva＂or ＂Lotus SO tra＂.The Cave 217 of Avalokites vara-Su tra has the general characteristics of the sutra painting, the central the presence of the Lord Buddha is like,and independence from the Lotus SO tra exist.The Cave 217 of Avalokitesvara-Su tra appeared complete goddess image from the Lotus SO tra become subsidiary to the change in the independent variable role, Avalokitesvara Belief in Dunhuang from the secondary to the independent belief functions convert, has a special meaning, after the Dunhuang also exerted an important influence on the development of Avalokitesvara-Su tra.