摘要
前言榆林窟第3窟是研究瓜沙地区西夏石窟艺术的重要对象,其中保存的精美壁画更是我们了解西夏佛教、世俗、社会历史的重要资料。关于榆林窟第3窟主室东壁南侧的五十一面千手观音经变,刘玉权、王惠民、彭金章、郑汝中、王进玉等人都曾撰文从表现技法、艺术风格、乐器图、酿酒图等不同方面进行过研究1,但大多集中在对于经变画整体艺术表现形式、千手持物的繁复、局部图像的探讨上。
51-faced and thousand-armed Avalokitesvara on the south side of the east wall in Yulin Cave 3,is not a traditional form.According to the remnants of the Xixia donor portraits firstly,record things about thirteen people on the north side of corridor,obvious Esoteric Buddhism style,and the architectural modeling of boundary painting in Ren Xiao period.It is inferred that the construction time may be in the period of Ren Xiao in Xixia,owners may be senior military officers.With regard to the identity symbol of 51-faced and thousand-armed Avalokitesvara,it is deemed that donors support the Avalokiteshvara’s image as a symbol of emperor.Rulers of secular and Buddhist world merge into a single whole.A lot of secular implements and labor scenes are depicted,and they are not consistent with record of sutras.These objects that involve production and daily life-the social and secular portion,not only reveal material culture,but also the combination of Confucianism and Buddhism and expression of harmony between man and nature.
作者
郭静
Guo Jing(Silk Road Institute of Historical Culture,Shaanxi Normal University)
出处
《丝绸之路研究集刊》
2019年第1期335-349,424,共16页
Journal of the Silk Road Studies
基金
2016年度国家社科基金重大项目“敦煌西夏石窟研究”(16ZDA116)
陕西师范大学中央高校基本科研业务费专项资金资助研究生创新基金一般项目“敦煌西夏石窟壁画与物质文化考”(2017CSY046)阶段性成果~~
