龙门石窟唐代佛像颈部三道蚕节纹缘由探析

The Cause of Three Neck Silkworm Section Patterns Buddhist Statues of Tang Dynasty in Longmen Grottoes

龙门石窟唐代造像数量多,保存也相对较好,这为研究唐代佛像造像的特点提供了丰富的资料。唐代佛像颈部有三道蚕节纹,不仅被称为佛身三十二相之一的瑞相,更是龙门石窟唐代造像的标志特征。但该特征未继承龙门石窟北魏佛像“瘦骨清像”的风格。唐代佛像颈部三道蚕节纹与佛身三十二相是否相关,该特征从何而来,学界对此探讨较少。依据汉译佛典中有关三十二相说的原型及内容的记载,对龙门石窟、云冈石窟的佛像特征进行梳理,与新疆、印度地区的佛像进行对比,得出龙门石窟唐代造像三道蚕节纹的特征并非源自佛身三十二相。龙门石窟唐代佛教三道蚕节纹在印度、新疆、云冈等地造像特征的影响下,又融入中原地区文化的特征所形成。

The large number of Tang Dynasty statues in Longmen Grottoes was relatively well preserved,which provided rich data for study the characteristics of Tang Dynasty Buddha statues.There were three silkwormsection patterns on the neck of Buddhist statues in Tang Dynasty.It is not only known as good fortune signsin thirty-two Buddhist images,but also a symbol character of the Tang Dynasty statues in Longmen Grottoes.However,this feature does not inherit the style of"thin bone and clear statue"Buddhist statues in Northern Wei Dynasty of Longmen Grottoes,There is little discussion on the relationship between the three neck silkwormsection patterns Buddhist statues of Tang dynasty in Longmen Grottoes and thirty-two physical characteristics of Buddha’s body,and where the characteristics come from.Based on the records of the prototype and content of the thirty-two physical characteristics of Buddha’s body theory in Chinese Buddhist scriptures,the characteristics of the Buddha statues in Longmen Grottoes and Yungang Grottoes were sorted out and compared with those in Xinjiang and India.It is concluded that the characteristics of the three silkworm Festival patterns of Tang Dynasty statues in Longmen Grottoes do not originate from the thirty-two phases of the Buddha body.Under the influence of the statues of India,Xinjiang,Yungang and other places,the three Buddhist silk Festival patterns of Tang Dynasty in Longmen Grottoes were formed by integrating the characteristics of Central Plain culture.