敦煌莫高窟维摩经变表现形式及艺术特色--以初唐第220窟为例

Distinctiveness and the Form of Expression of Vimalakirti Sutra of Mogao Grotto Frescoes at Dunhuang:A Case Study of 220th Cave in the Early Period of Tang Dynasty

初唐之前,敦煌维摩变相绘制较为简单,主要以龛内表现为主,或同龛表现,或两龛对视配置,主题表现为维摩文殊说法和听法大众场景等,体现了早期佛教造像浓厚的功德观。逮至初唐,变相的构图布局和图像设计都有了较大的改进。以现有资料显示:初唐第220窟维摩变相在"维摩文殊说法"中心基础上添绘了"示现神通力"场景,形成了"宣讲佛法"与"世俗信仰"双重意味的图像设计和布局构图,体现出"统一设计、富于变化"和"强烈对比、多样统一"的艺术特色,并成为此后敦煌石窟乃至巴蜀地区维摩变相绘制的基本构图特征与壁画布局法则。

Vimalakirti Sutra frescoes of Mogao Grotto at Dunhuang briefly focus on the scene expounding the sutra, with typical characteristics of early Buddhist frescoes before Tang Dynasty. From the early period of Tang Dynasty, the form of expression of Vimalakirti Sutra frescoes varies from the early versions in terms of theme, composition, and design. And through other research and the research of the frescoes in the early period of Tang Dynasty at Dunhuang, it was found that Vimalakirti Sutra frescoes in the 220th Cave conjoining the scenes expounding sutra and displaying supernatural feature distinguish from Vimalakirti Sutra frescoes in other areas of China in the early Tang Dynasty, having a profound influence on the following centulies.