龙门石窟和巩县石窟的汉服贵族供养人像——“主从形式供养人图像”的成立

Aristocratic Donor Figures in Han-Style Garments at the Longmen Caves and the Gongxian Caves——The Establishment of Master-Attendant Style Donor Figure Iconography

本论文讨论在北魏洛阳时代的龙门石窟和巩县石窟成立的汉服贵族供养人像,阐明其图像内容和构图以及表现特征,探讨偕同随从的贵族供养人像形式的成立情况及其起源。供养人像是北魏时期佛教美术中的常见题材,其目的是记录捐赠造像的事实,同时也显示作为皇帝臣民和国家成员的自我存在。尤其是北魏时期,将皇帝和佛陀视为同等重要的角色,供养人自己的形象也以鲜卑风俗来表现。但是,在5世纪末,受北魏第六代孝文帝的汉化政策的影响,官服从鲜卑服改为汉服之后,在佛教造像中公开表现的信徒形象,也变成身穿汉服的优稚姿态。同时,龙门石窟古阳洞出现了汉服贵族礼佛图,从以往的同样形状同样大小的造像排成一列的单纯结构,发展成在主人前后伴随大小随从人员的'主从形式'。这些随从人员有多种姿态,如从左右扶持主人的,执主人衣服下摆的,在身后拿伞盖、翳和羽葆的等。他们的衣服、冠帽和发型等表示着身分、官职和年龄的不同。同时,在宣武帝发愿建造的龙门石窟宾阳中洞,出现了带领二十多名随从的、戴冕冠的皇帝供养人像,是符合'皇室开凿窟'的壮丽供养人群像表现。这个新的'主从形式贵族供养人像',给予画面深度和动感的巧妙构图,以及体型小巧的人物像和流畅得如同线描的衣纹等,是在画卷和屏风画等绘画作品中培养出来的表现方法。

This article discusses aristocratic donor figures in Han-style garments found in the Northern Wei Luoyang period caves at Longmen and Gongxian,clarifying the characteristics of the iconographic content,its composition and expression,and providing a consideration of the background surrounding the establishment of a"master-attendant"style visual presentation of aristocratic donor figures and their attendants and the sources for this iconography.The donor figure motif is often seen in Northern Wei Dynasty Buddhist art.Such figures are thought to have been intended to stand as both a record of a person’s sponsorship of a sculpture as well as an expression of their own subjugation to the emperor.In particular,in the Northern Wei Dynasty that equated the Xianbei-descent emperor with the Buddha,donor figures were deliberately shown in Xianbei-style garments.However,at the end of the 5th century,Emperor Xiaowen’s Sinification policies meant that formal garments changed from Xianbei-style to Han-style.Appropriately,the figures of the faithful shown on such public displays as Buddhist sculpture were transformed into figures dressed in elegant Han-style garments.Aristocrats dressed in Han-style garments are found as figures honoring the Buddha image in the Guyangdong Cave at the Longmen complex.This image also represented a development from the existing simple linear arrangement of equal-sized donors to a hierarchical visual style presenting donors of higher social rank as larger figural forms accompanied by smaller attendants in front and behind.In this iconographic style,the attendants vary greatly in form and function,whether seen to the right and left of the superior ranked individual they are attending,holding the hem of their superior’s garment,or standing behind the principal figure holding a parasol,face protector,or feather fan.Each person’s age,status and position at court is visually signaled by their garments,headgear and hairstyles.In the Binyangzhongdong Cave,commissioned by Emperor Xuanwu at the Longmen Caves,the imperial donor figure is shown with a crown and accompanied by an entourage of more than twenty attendants.This is an appropriately grand donor group display for an imperially commissioned cave.This new"master-attendant"style of aristocratic donor figure representation is characterized by its addition of a sense of visual depth and movement to the composition,slender figural forms,and garments depicted in flowing and elegant lines.These features can all be posited as the establishment of a relief figural style that incorporated the expressive styles found in the painted hand-scrolls and folding screens that were enjoyed by the aristocracy of the period.