天水仙人崖石窟新见西游记与水月观音壁画组合研究——兼谈明代的华严禅实践和三教合一思潮

A Study on the Combination of Journey to the West and Water-Moon Avalokiteshvara Murals Newly Discovered in Tianshui Xianrenya Grottoes

天水仙人崖石窟华严殿内新发现一组明代中期的西游记与水月观音壁画组合,是现存唯一一例明代此类图像的组合。这组图像延续了北宋、西夏、元代以来唐僧取经图像与水月观音图像组合出现的传统,表现为传统形式与新形式的融合,是早期此类组合向清代观音救难与西游记壁画组合转变的过渡形式,弥补了此类组合发展演变中的缺环,具有重要的艺术史价值。它们作为附属图像,配置在以华严三圣和禅宗六祖师像为主体的神圣空间内,是明代华严禅与三教合一思想及实践的具体体现,反映了当地明清以来民间宗教与信仰的主流,折射出了中华民族开放包容的博大胸怀和中华文明多元一体的文化特质。

A group of murals of Journey to the west and Water-Moon Avalokiteshvara in Huayan Hall of Tianshui Xianrenya Grottoes in the mid-Ming Dynasty were found,which is the only existing combination of such images in the Ming Dynasty.They continue the tradition of the combination of the images of Xuanzang for Buddhist Scriptures and Water-Moon Avalokiteshvara since the Northern Song Dynasty,Xixia Dynasty and Yuan Dynasty.They are the combination of traditional form and new form,which is the transition form from the combination of Avalokiteshvara rescue mural and journey to the west mural in the Qing dynasty,making up for the missing link in the development and evolution of this kind of combination,has important value in art history.As subsidiary images,they are arranged in the sacred space dominated by the three saints of Hua yan and the six patriarchs of Zen,which are the embodiment of the thoughts and practices of Hua yan Zen and the Integration of Three Religions in the Ming Dynasty.It reflects the mainstream of folk religions and beliefs in this region since the Ming and Qing Dynasties,and reflects the broad and open mind of the Chinese nation and the cultural characteristics of the pluralistic integration of Chinese civilization.