敦煌行僧取经伏虎图像志研究

A Study on the Image of Buddhist Monk with Crouching Tigers on His 0Pilgrimage for Buddhist Scriptures

莫高窟遗存“行僧取经伏虎图像”创作源起为唐末、五代蔚然成风的禅僧行脚,以单尊禅僧行脚为形象依托的“宝胜如来佛”的转换是对隋唐以来敦煌金光明信仰的延续。在诸民共生的唐末宋初敦煌,行僧取经伏虎图像呈现的是一种脱离印度佛教绘画,而重建了一套顺应敦煌民情的宗教绘画视觉形式与形象思维方式。行僧取经伏虎图像在“式”与“饰”之间的架构中彰显了文化的“融”与“合”,在物质借用与融合中达到了图像视觉特征与信仰功能的统一。以绢纸亦或是壁面承载笔、墨、彩的运用中形成了历史记忆的风格演化。

The creation of the image“Buddhist Monk with Crouching Tigers on His Pilgrimage for Buddhist Scriptures”as one of the remains of Mogao Grottoes originated from Buddhist monks’practice of pilgrimage that was prevalent in the late Tang Dynasty and the Five Dynasties.The transformation from the worship of Buddhist monks’pilgrimage to the image of“Ratna-sam!bhava”is a continuation of belief in suvar aprabhāsasūtram since Sui and Tang Dynasties in Dunhuang.Dunhuang during the late Tang Dynasty and early Song Dynasty witnessed a national amalgamation and thus the image is different from Indian Buddhist painting as it reconstructed a set of visual forms and the modes of imagery thinking that conformed to the folk customs in Dunhuang.The construction of“style”and“ornament”in the image displays the cultural“integration”and“fusion”which gained unity of the visual feature and belief function.The stylistic evolution developed with the borrowing and fusion of material and the application of silk paper or that of pen,ink and color on walls.