摘要
敦煌佛教饱受中原、吐蕃和西域佛教的浸染,同时地处三大核心文化区的边缘,未曾受到吐蕃达磨赞普灭佛活动(838-842)或几乎同一时期中原会昌法难(841-846)的影响,因而在洞窟营建和壁画绘制方面有着丰富的理论依据,呈现出一些和中原地区和而不同的特色。
The pyramidal ceiling of the Cave 9 was painted with Sutra Tableaux,the Avatamsaka Sutra was on the southern,western and northern sides,and the Maitreya Sutra was on the eastern side.The murals on the pyramidal ceiling were always respected as the leading thought of cave construction,which reflects the construction of Cave9 was based on thoughts of Avatamsaka and Pure Land,by chanting the name of Amitabha and reading Mahayana sutras which were related to tableaux mural of the cave,finally make reborn in the Lotus Treasury World as the ultimate practice goal.The northern wall of Cave 9 appeared a Tubo(ancient Tibet)period characteristic mini image of Tsenpo with attendants,which showed the possibility of Tibetan people participated in the cave construction.Based on the study of the construction thought of Cave 9,after the Buddhism Calamity by Dharma Tsenpo in central Tibetan,the Tibetan people who lived far away from the central Tibet,blending in the local Buddhism tradition more deeply than the Tubo period.
作者
魏健鹏
Wei Jianpeng(School of History and Culture of Sichuan University)
出处
《丝绸之路研究集刊》
2019年第1期259-270,422,共13页
Journal of the Silk Road Studies
