西夏佛教雕版扉畫重探（英文）

Reassessing Printed Buddhist Frontispieces from Xi Xia

本研究以20世紀以來寧夏、甘肅等地所發現的爲數可觀的西夏佛教雕版扉畫爲主要材料,重新探索西夏視覺文化與周邊中國文化(包括宋朝及其他構成中國史上的所謂征服王朝如遼、金、元等)的關係。本文以視覺分析爲主要研究方法,透過對西夏及其他地區佛教版畫中被重複使用的格套、子模之識别及比較,探討佛教雕版扉畫在中古中國各文化圈的製作、傳播與交流。西夏的佛教視覺文化遺產,亦反映在元初由活躍在宫廷及江南地區的西夏僧人所主持、印行於杭州的佛經及扉畫作品上。從佛教雕版扉畫研究所見之西夏多元視覺文化爲中古中國研究提供了新的視野。西夏在中國視覺文化研究上原本趨於邊緣的地位亦應被重新評估。

This study uses printed Buddhist frontispieces to reevaluate Xi Xia visual culture and its connections to neighboring cultures_the Song,the Khitan Liao,and the Jurchen Jin.Many frontispieces,produced in large numbers with Chinese woodblock printing technology,have been excavated at Khara Khoto,Inner Mongolia,and sites in Gansu and Ningxia.Applying a visual approach,the author pays special attention to the uses of modular motifs across cultures.The production of Buddhist texts and frontispieces in early Yuan Hangzhou attests to the legacy of Xi Xia visual culture,which was promoted by Tangut monks active at the Chinese court and in the Jiangnan area.Far from being peripheral,Xi Xia'visual culture participated in dynamic dialogues with its neighbors and deserves a reassessment.