摘要
莫高窟第194窟维摩诘经变中的帝王像是研究安史之乱前夕中原帝王舆服制度的形象史料,通过对这一帝王像及其服制的研究,可以深入了解肃、代、德宗三朝面对政局混乱的局面,试图通过“宗周”“追行古制”以及对《周礼》服制的复古,消除政权更迭带来的不利影响,稳固政权的相关历史。同时这一图像所显示出来的服制方面的深刻变化,在一定程度上佐证了在吐蕃包围广大河西地区的同时,作为唐“飞地”的敦煌依然与长安保持紧密关系的史实。
The image of the Chinese emperor in the Vimalakirti sutra illustration in Mogao cave 194 is visual material for studying the regulations about the carriages and costumes of the Tang emperors right before the An Lushan Rebellion.A deep study on the emperor and his clothes can provide a better understanding of the political chaos in the three eras respectively ruled by Emperor Su,Emperor Dai and Emperor De,who energetically“pursued the old system,”“followed the examples of Zhou”and resumed the imperial regalia established by the Ritual of Zhou,so as to greatly eliminated the adverse effects caused by previous rulers and to further consolidate their power.The profound changes in imperial regalia reflected in this image verify to a certain extent that,Dunhuang,as an enclave of the Tang Empire,still maintained close contact with Chang’an when most of the Hexi region had been besieged by the Tibetan army.
作者
赵燕林
ZHAO Yanlin(Archaeological Institute,Dunhuang Academy,Dunhuang,Gansu 736200)
出处
《敦煌研究》
CSSCI
北大核心
2022年第6期13-22,共10页
Dunhuang Research
基金
甘肃省文物保护科学和技术研究课题“敦煌维摩诘经变中的帝王图像及其服制研究”(GWJ202004)。
关键词
莫高窟第194窟
维摩诘经变
帝王像
舆服制度
Mogao cave 194
Vimalakirti sutra illustration
image of emperor
regulations about carriages and costumes
