鄯善和于阗古国佛寺壁画花纲人物图像分析

Analyses of the Images of Garland Bearers from the Murals of Buddhist Temples in the Ancient Kingdoms of Shanshan and Khotan

本文着重分析了若羌米兰、于田胡杨墩佛寺遗址壁画中的花纲人物图像,以及犍陀罗浮雕同类图像的继承和发展情况,认为米兰图像大体沿袭了犍陀罗担花纲因素,胡杨墩图像已从担花纲模式解放出来,并界定了二者年代;进而指出,米兰花纲人物具有右绕供养佛塔的设计意图,其翘脚担花纲者造型反映了古印度特有的供养形式,胡杨墩花纲人物依然属于佛寺供养内容,并非当前学界所谓古印度神话故事之表现。其人物形态灵活多变,在柔韧的线描轮廓中加入凹凸有致的晕染色彩,朝气无限的生命力跃然而出,展现出独特的于阗古国艺术世界。

This paper focuses on analyzing images of garland bearers from the Buddhist temple murals of Milan in Ruoqiang, and of Huyangdun in Yutian （Kerya）. As for the inheritance and circumstances of development regarding the same type of images from Gandhara sculptures, the author believes that elements in the images of Milan were generally inherited from the Gandharan images of garland bearers, while those from the Damagou site had freed themselves from this particular mode of painting, a conclusion which also serves in establishing the different dates at which the murals of these two temples were created. This research also points out several significant details in content and inheritance of tradition as well, some of which can be highlighted in this abstract. The images of garland bearers from Milan murals, for instance, contain the worship pattern of circumambulating clockwise around a pagoda, while the presence of a garland bearer who turns up one foot reflects a special worship practice from ancient India. The images of garland bearers from the Damagou murals remain within the traditional contents of worship found in Buddhist temples at the time and do not seem to depict any ancient Indian fairy tales as some modem scholars have claimed, the bearers are rather shown in a variety of posrares, their figures outlined in pliable lines. The use of color-gradation creates a tridimensional effect and conveys an abundance of vitality, as the artists indeed intended, thus producing an artistic vision of the ancient king- dom of Khotan never seen before.