柏孜克里克第40窟如意轮观音经变研究

Study of Cintāmanicakra Avalokitevara Sutra Painting in Cave 40,the Bezeklik Grottoes

柏孜克里克第40窟壁画绘制于高昌回鹘时期,右侧壁如意轮观音经变主要是根据如意轮观音诸经绘制而成,同时融入千手千眼观音经变中的传统题材十方佛、婆娑仙与功德天,又增添了若干新的题材。较之敦煌石窟的如意轮观音经变,内容更加丰富,有许多题材是敦煌所未有,如十大明王、释迦与弥陀组合像等。这些新增的题材彰显了宋代中原与高昌回鹘的佛教文化交流之密切,中原的佛经翻译和佛教实践为高昌回鹘佛教的发展提供了源源不断的新鲜血液,是高昌回鹘佛教繁盛的源泉。该经变中山林禅定和月轮像,体现了修行者通过观想猴子等动物来收摄心猿,念诵如意轮陀罗尼咒,以心月轮观想入手,观想本尊如意轮观音及诸像,从而生发菩提心,证入初地菩萨终至成佛的美好愿望。从绘画风格来看,该经变融合了汉传佛教和龟兹画风,体现了高昌回鹘时期吐鲁番佛教艺术的多元化风格。

The painting in Cave 40, the Bezeklik Grottoes painted in Khocho Uighur period. The right side walls of the Cintamanicakra Avalokitesvara Sutra Painting are drawn mainly ac-cording to Sutra about Cintamanicakra Avalokitesvara. At the same time, combined with the Thousand - armed Avalokitesvara Sutra Painting in the traditional theme of the Buddhas of the directions, vasistha and Lakshmi, But also added a number of new themes. Compared with the Cintamanicakra Avalokitesvara Sutra Painting of the Dunhuang Grottoes, it is richer in content. There are many themes in the Dunhuang Grottoes, such as the Ten Mingwang, Sakyamuni and Amitabha. These new themes highlight the close cultural exchanges between the Central Plains and the Khocho Uighur. The Buddhist scriptures of the Central Plains and Buddhism practice provided a steady stream of fresh blood for the development of the Khocho Uighur Buddhism, the source of the flourishing of the Khocho Uighur Buddhism. The change in the mountains and the moon meditation, reflecting the Walker chanting wishful round Tuo Luo Ni curse, to start with the heart of the Lunar concept, the concept of the Buddha and the Buddha as the Buddha, And finally to the Buddha, s good wishes. From the point of view of painting style, the fusion of Chinese Buddhism and KuchaJ s style of painting embodied the diversified style of the Tuifan Buddhist art in Khocho Uighur period.