五代前后降魔图像的新发展——以巴黎集美美术馆所藏敦煌出土绢画降魔图为例

New Development in Buddhist Mara - tarjana Images in the Rve Dynasties Period: The Paintings on Slk Unearthed in Dunhuang and Now Held in the Guimet Museum in Paris

本文以集美美术馆所藏绢本着色降魔图为,论述了五代时期降魔图像新发展的有关情况。作品中的降魔释迦佛表现出若干新时代造型特征,密教明王的出现增强了佛的威慑力。魔众种类繁多,复杂多变,艺术表现趋于极限。释迦佛神通变化以及转轮圣王七宝被吸收进来,强化了释迦超人的性格。图像中还可以见到来自印度帕拉朝美术的因素。此图像的内容和表现远远超出了北朝时期同类作品,代表了后期降魔图像发展的最高水准。推测此图像出现与当时流行俗讲的社会背景有关。

The author examines Mara - tarjana images depicting Sakyamuni' s subjugation of Mara bassd on an examination of paintings on silk in the collection of the Musee Guimet in Paris and discusses the new developments in the handling of these images in the Five Dynasties period and the increased strength of Tantric Buddhism in that period as exemplified by the emergence of Mingwang images. There was also a proliferation and transformation of Mara or demon images and the artistic aspects of Mum - tarjana works were fully explored. The works treated supernatural powers ascribed to Sakyamuni Buddha' s and drew on his attributes, namely the Seven Treasures, as a Cakravartin King, thereby endowing Sakyamuni with supra - human qualities. Including elements of Indian Pala art, these works far surpassed Northern Dynasties' works treating the same themes find represent the pinnacle of achievement in treating this genre, drawing on a social background of contemporary folk customs.