唐代敦煌与日本的维摩诘经变

Vimalakirti Scenes in Tang China Dunhuang and in Japan

前言据《敦煌石窟内容总录》介绍,敦煌石窟的维摩诘经变多达73件,年代涵盖了隋代至西夏。其中,属于唐代的维摩诘经变包括:初唐11件、盛唐2件、中唐9件、晚唐9件。从隋代到唐代,维摩诘经变的图像发生了较大变化。隋代维摩诘经变基本上是维摩诘和文殊菩萨对坐的简单构图;唐代以后画面扩大、内容变得复杂,增添了许多《维摩经》中的故事。

This paper examines the Vimalakirti scenes in Dunhuang Mogaoku during the first half of Tang dynasty.Specifically,the paper will consider the location of the scenes within the caves and their iconographic elements,through comparison with Vimalakirti scenes in Nara,Japan at the eastern end of the Silk Road.The Vimalakirti scenes in Dunhuang clearly recognize that the scene takes place in China.During the reign of Wu Zetian,caves with Vimalakirti scene on the surrounding walls(especially the north)begin to appear.Taking into account that in Mogaoku,the Western Pure-land scene is depicted on the south wall,it is apparent that the north wall actually represent the eastern direction,which conceptually would match with the direction of China.There are also caves where the Vimalakirti scene is paired with the two Buddhas sitting side by side or Maitreya Buddha.On the other hand,in the first layer of the five-tiered pagoda in Horyuji in Nara,Japan,the Vimalakirti scene is depicted in clay on the eastern side of the central pillar.The remaining three sides depict nirvana,distribution of the sarira,and Maitreya Buddha.Based on this composition,studies have pointed out that the Vimalakirti scene also represents the succession of dharma,as do the other themes around the pillar.Extending this understanding to the works in Dunhuang,we are able to interpret that the iconographic elements in the Tang Vimalakirti scenes also intend to depict succession of the dharma,and that the Vimalakirti scenes shown on the north wall showcases China as the Buddhist pure-land succeeded into the future.