敦煌壁画中的“探身维摩”像

The Portraits of"Vimalakirti Leaning Forward"in Dunhuang Murals

唐代前期,敦煌莫高窟出现了以第220窟、第103窟为代表的凭几探身的维摩诘画像,并延续至唐代后期、五代、宋、元。这种维摩诘画像样式一方面因身后配置书法屏风而与隋代孙尚子在长安定水寺所画维摩诘存在密切联系。另一方面又与传为北宋李公麟《维摩天女像》、大足佛湾第137号龛《维摩变》、云南大理张胜温《梵相图》中的维摩诘形象如出一辙。从中可见这种“探身维摩”样式的流传及其所反映的佛教美术中画样的“模件化”和“镜像化”等问题。

In the early Tang Dynasty,there were Vimalakirti portraits leaning forward on a small table in Mogao Grottoes in Dunhuang,represented by caves 220 and 103,which lasted to the late Tang Dynasty,the Five Dynasties,the Song Dynasty and the Yuan Dynasty.On the one hand,because of the calligraphy screen behind it,this kind of Vimalakirti portrait style is closely related to the Vimalakirti painted by Sun Shangzi of the Sui Dynasty in Dingshui Temple of Xi’an.On the other hand,it is also the same as that in the Picture of Vimalakirti and the Goddess by Li Gonglin in the Northern Song Dynasty,Vimalakirti in the No.137 niche of Dazu Fowan,and that in the Buddhist Images by Zhang Shengwen in Dali,Yunnan Province.It can be seen from such that the spread of this style of"Vimalakirti Leaning Forward"and the"modularization"and"mirroring"of painting patterns in Buddhist art.