英法藏唐宋敦煌遗画地藏菩萨袈裟纹样研究

Study on the kasaya patterns of Ksitigarbharaja bodhisattva in Dunhuang paintings of the Tang and Song Dynasties collected by Britain and France

地藏信仰在汉地兴起后,其造像形式逐渐脱离印度佛教原典,并在唐宋时期进一步中原化。在该时期敦煌藏经洞出土的遗画中,绘有大量地藏菩萨图像,其所穿着的袈裟纹样丰富,色彩绮丽,极具研究价值。本文针对目前刊录的英法藏唐宋时期敦煌遗画,以穿着绘有袈裟纹样的地藏菩萨为研究对象,对其内层袈裟、外层袈裟所绘袈裟纹样进行梳理,分为两类:袈裟沿用的常见纹样,如贴金菱形纹、同心圆联珠纹、团花纹;袈裟专属纹样,如云水纹与线迹纹。同时,对比同时期敦煌石窟中佛陀、弟子及地藏像所穿着袈裟的纹样,结合传世袈裟实物与出土的唐宋时期纺织品,从纹样内容、布局、工艺、色彩等方面进行分析,总结纹样分布及变化规律,可以一窥唐宋时期地藏信仰流变对其袈裟纹样的影响,并形成互证。

Among the cultural relics unearthed in the Dunhuang Sutra Cave,there are a large number of paintings from the 7 th to the 10 th century,which are generally referred to as“Dunhuang paintings”.At the beginning of the 20 th century,after the Dunhuang paintings were discovered,foreign explorers represented by Marc Aurel Stein and Paul Pelliot went to the Mogao Grottoes to steal them.At present,the lost Dunhuang paintings are mainly collected in Britain,India,France and Russia.Among the current public image materials,some of the collections of Britain and France have been sorted out for many times,and the series of atlas of The Art of Central Asia published by Kodansha is the most systematic and comprehensive.Among them are a collection of exquisite paintings of the Ksitigarbharaja bodhisattva,painted from the middle and late Tang Dynasty to the Song Dynasty.These Ksitigarbharaja bodhisattvas are mostly classic works in Dunhuang paintings,and their kasaya patterns are abundant and colorful,which is of great research value.In this paper,by taking the Ksitigarbharaja bodhisattva,who wore the kasaya pattern,as the research object,the inner and outer kasaya patterns were sorted out and divided into two categories:the common patterns used in kasaya,such as gold diamond pattern,concentric circles linked-pearl pattern and roundel pattern;specific patterns of kasaya,such as cloud and water patterns and thread patterns.In the remaining Dunhuang paintings of the Tang and Song Dynasties collected by Britain and France,the kasaya patterns of Ksitigarbharaja bodhisattva are distributed in each stripe area of the kasaya,and have the characteristics of symmetry and regularity,playing an auxiliary role in constructing the stability and solemn sense of the Dunhuang paintings.The common patterns used in kasaya developed early,and were all used in the costumes of figures and the border ornaments of grottoes,reflecting the unity of Dunhuang buddhist art in decorative style.The exclusive pattern of kasaya is used exclusively on the dress of the Samana figure,which is a unique symbol of buddhist identity.During the Song Dynasty,with the prosperity of the belief in Ksitigarbha,Ksitigarbharaja bodhisattva often ranked as the main figure in the image of Ten Kings,and related kasaya pattern was more precise and more characteristic in the Dunhuang paintings.At the same time,the pattern content and decorative expression techniques of kasaya also reflect the close connection with the textile technology at that time to a certain extent,and enrich the textile historical materials.Therefore,the kasaya patterns of Ksitigarbharaja bodhisattva in Dunhuang paintings of the Tang and Song Dynasties are not only exquisite and highly decorative,but also a three-dimensional presentation of his image identity,belief boom and Tang textile technology.Mainly based on the images of Ksitigarbharaja bodhisattva in the Dunhuang paintings of the Tang and Song Dynasties recorded in The Art of Central Asia,this paper combed the kasaya patterns worn by the Ksitigarbharaja bodhisattva.At the same time,it traced back the physical kasaya and the textile process of the Tang and Song Dynasties,and verified the kasaya patterns of Ksitigarbharaja bodhisattva to further understand people’s interpretation of the identity and function of Ksitigarbharaja bodhisattva at that time,so as to explore the influence of the centralization of Ksitigarbha belief on related image patterns in the Tang and Song Dynasties,and to provide theoretical reference for the age judgment and style study of Ksitigarbharaja bodhisattva’s kasaya patterns in Dunhuang.