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根據敦煌吐蕃占領時期的寫本可知,每年二月初八日在敦煌當地都舉行盛大的“行像”活動。在莫高窟八至九世紀的《文殊及侍從》圖中,文殊的侍從人數較此前同類題材明顯增多。特别是第159窟的侍從人數多達二十九身。如此龐大的侍從隊伍及其背景中華蓋、幡幢等圖像元素均反映了敦煌地方佛教節日的主題。本文試圖圍繞莫高窟第172和159兩個洞窟《文殊及侍從》的壁畫,通過文本文獻與相關壁畫中圖像間的對照研究,對公元八至九世紀敦煌的《文殊及侍從》圖中的佛教節日主題元素加以解讀並闡釋其象徵性含義。
According to Dunhuang Tubo occupation period of writing can know that every year on the eighth day of February every year in Dunhuang held a grand “image ” activities. In the Mogao Grottoes of “Manjusri and Paternity” from the eighth to the ninth centuries, the number of attendants in Manjushri increased significantly from those of the previous similar subject. In particular, there were as many as 29 attendants in Cave 159. Such a large attendance team and its background Zhonghua cover, banner tower and other image elements reflect the theme of Dunhuang local Buddhist festival. This article attempts to focus on the murals of “Manjusri and attendants” in the two caves of Cave 172 and 159 of the Mogao Grottoes. By comparing the textual documents with the images in the related murals, Buddhist festival theme elements to interpret and explain the symbolic meaning.