飞来峰91龛侍女像服装样式与来源——兼论早期内地藏传佛教艺术的图像衍化逻辑

The Clothing Styles and Sources of the Statues of Maidservants in Niche 91 of Feilaifeng--The Logic of Image Derivation in Early Tibetan Buddhist Art in the Mainland of China

文章围绕杭州飞来峰石窟91号龛密理瓦巴造像中的侍女像展开讨论。结合宋代绘画及考古出土实物,考辨石窟中残存侍女图像,认为该窟侍女像的衣着为褙子、褶裙、短衣、云肩等,为宋代中原常见款式,而非以往学者辨识的南亚样式,是内地服饰文化在江南地区早期藏传佛教题材尊像中的植入。在此基础上,综合讨论国内现存10—13世纪的密理瓦巴图像,梳理其样式来源及衍化逻辑,指出该窟造像是在继承西夏河西地区流行样式的基础上,融入内地艺术元素后形成的。这种图像衍化逻辑,是藏传佛教中国化在元代江南地区的生动体现,也是元明清以来内地藏传佛教艺术的主要创作思路,对藏传佛教艺术在内地的传播,起到了积极的推动作用。

This paper centers on the statues of maidservants in the niche of the Virupa statue in the Feilaifeng Grotto in Hangzhou.By combining the paintings and archaeological excavations of the Song Dynasty,it argues that the clothing pattern of the maidservants in the cave is a common style of the Central Plains in the Song Dynasty,such as pasties,pleated skirts,short coats,and cloudy shoulders,rather than the South Asian styles that were previously thought to be.It is an implantation of the mainland dress culture in the early Tibetan Buddhist statues in the South Yangtze River regions.On this basis,this paper comprehensively discusses the existing Virupa images in China from the 10th to 13th centuries,sorting out the source of their styles and the logic of their evolution,and points out that the statues in the cave were formed by inheriting the popular styles in the Xixia and Hexi regions and incorporating mainland art elements.This image evolution logicis a vivid embodiment of the development of Tibetan Buddhism in the Chinese context in the South Yangtze River regions of the Yuan Dynasty.It is also the main creative idea of Tibetan Buddhist art in the mainland since the Yuan,Ming and Qing Dynasties.It has played a positive role in the spread of Tibetan Buddhist art in the mainland.