再论于阗八大守护神图像源流--以摩诃迦罗神、莎耶摩利神的样式为中心

A Reexamination of the Iconographical Origin of the Eight Buddhist Guardians Protecting Khotan--Focusing on the Styles of Mahakala and Samjnayamala

敦煌石窟中的于阗守护神图像是张氏、曹氏归义军政权与于闻在佛教文化、艺术方面交流的重要证据。与洞窟中榜题读音最为接近的文本为吐蕃统治敦煌晚期的藏文写本P.t.960《于阗教法史》。而从摩诃迦罗神与莎耶摩利神的形象来看,他们遵循的是汉地图像传统。天王形的摩诃迦罗神可能演变自《南海寄归内法传》中记载的厨神大黑天;莎耶摩利神则可能借用了汉地毗楼勒叉天王的形象,与新疆和田地区发现的散脂夜叉大相径庭。故而,这组榜题为"守护于阗国"的守护神很可能是敦煌画工利用自己熟悉的汉地神王图像进行的改造。

The Buddhist guardians protecting Khotan depicted in Dunhuang cave murals are a manifestation of the exchanges of Buddhist culture and art between Khotan and the Guiyjun Regime ruled by the Cao and Zhang clans.The text near the images has been identified as the Tibetan document P.t.960,Li yul chos kyi lo rgyus("Religious History of Khotan"),which dates to the late period of the Tibetan occupation of Dunhuang.Images of Mahakala and deva Samjnayamala in the murals are depicted according to the iconographical traditions of places that were dominated by Han Chinese at the time.The Heavenly King-like Mahakala painting was likely derived from depictions of the same deity as a god of the kitchen,examples of which can be seen in A Record of the Buddhist Religions as Practiced in India and the Malaya Archipelago(671-695 AD).The image of deva Samjnayamala could have been borrowed from a similar image of the Heavenly King Virudhaka that took shape in a Han Chinese region,as it clearly differs greatly from images of Pancika seen in Khotan in Xinjiang.Therefore,the guardians,which were labeled as"Buddhist guardians protecting Khotan"in the inscriptions attached to them,were probably created by Dunhuang artisans who renovated the murals based on the Chinese style of art with which they were familiar.