敦煌风神与粟特风神的图像互联

Wind Deities in Dunhuang and Their Possible Iconographical Connections with Chinese Fengbo and Sogdian Weshparkar

至少从公元6世纪开始,敦煌壁画中就出现了一些借鉴自其他文化环境的图像特征。学者们已经确认敦煌壁画中的一些神灵举在头顶的理想化风巾,可能是经由信仰佛教的犍陀罗或贵霜钱币对希腊罗马艺术的借用和中介而来的。然而,敦煌的风神有时会手举一只“风号角”作鼓吹状。鼓吹器具这一特性也出现在希腊艺术中,而且还是中国的风神风伯形象的主要元素。这也是粟特风神维什帕卡的特性之一,但贵霜钱币中的风神如瓦多、韦绍和阿内莫斯却完全没有任何风号角。对敦煌绘画中风神这一有争议的特性进行辨析,并提出中国和粟特艺术中一些可与之对比的有趣参照。

Some iconographical traits borrowed from other cultures began appearing in Dunhuang paintings since at least the sixth century CE. For example, scholars have already determined that a cloth drape blowing in the wind above the heads of various deities in Dunhuang murals was borrowed from Greco-Roman art, possibly through contact with Buddhist art from Gandhara or Kushan coinage. Wind deities in Dunhuang have often been depicted holding a “wind horn” that they used to blow the wind. This attribute also appeared in Greek art, and was a primary characteristic of the Chinese wind deity, Fengbo. Interestingly,it was also one of the attributes of the Sogdian wind god Weshparkar, although the wind deities printed on coins from Kushan such as Vado, Vesho and Anemos are not shown with wind horns. This study investigates this curious phenomenon of varying artistic heritage and depiction, with special attention paid to attribute of the wind deities in Dunhuang paintings, and to several interesting parallels between Chinese and Sogdian art.