从“法华观音”到“华严观音”.doc

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1、从“法华观音”到“华严观音”热菡要：关于莫高窟第464窟后室所绘的“观音现身”画面，学界一直认为是一铺观音经变。但近年有研究者提出新说，认为是据所绘，故而将其定名为大“乘庄严宝王经变”，并推论南壁所绘“上师”人物形象为该经中提到的“阿苏”、诸多头戴冠饰的形象为“日天”“月天”诸天神。文章通过详细比较、分析这两种不同的定名，并对敦煌发现的西夏文绘图刻本进行研究后认为，后室“观音现身”是根据所绘，仍然是一铺观音经变，画面中出现所绘“国师”或“帝师”形象很可能与窟主个人有关。并在此基础上认为，后代只重绘了前室和甬道，而有意保留后室壁画，很可能是考虑到“观音现身”与“善财童子寻访善知识”二者之间有许多

2、共同之处，因而进行了融通，而原本的“法华观音”也就转变为“华严观音”。 关键词：观音现身;西夏文;西夏文;善财童子五十三参 中图分类号：K879.41 文献标识码：A 文章编号：1000-4106（2022）01-0020-13 The Transformation of Avalokitesvara from the Lotus Sutra to the Garland Sutra A Study on the Identification of the Murals in the Main Chamber of Mogao Cave 464 and the Relation of the

3、Painting with the Antechamber ZHANG Yuanlin （Dunhuang Academy， Dunhuang， Gansu 736200） Abstract：For many years， a painting depicting the “Manifestation of Avalokitesvara” in the main chamber of Mogao cave 464 has widely been regarded as an illustration of Avalokitesvara. In recent years， however， so

4、me researchers have come to believe that this mural was actually painted based on the Avalokitesvara Guzakarazdavyuha Sutra. They therefore conclude that the primary subject is Avalokitesvara-Guzakarazdavyuha and infer that the image of the “master” is most likely Asura， who is mentioned in the sutr

5、a， while the figures wearing crowns represent various deities such as the sun and the moon. By carefully comparing and analyzing these analyses together with the block-printed version of the Avalokitesvara Sutra in Tangut script discovered in Dunhuang， the author comes to the conclusion that the “Ma

6、nifestation of Avalokitesvara” in the main chamber was created according to the Chapter of the Universal Gate from the Lotus Sutra. In addition， analysis of the history of the cave leads to the inference that the illustration does depict Avalokitesvara， but that the figure of the “master” or royal p

7、receptor in the painting was likely associated with the donor who sponsored the construction of the cave. On this basis， it can be concluded that only the antechamber and the corridor were repainted in later times because the cave donor wanted to maintain certain thematic similarities between the “M

8、anifestation of Avalokitesvara” and “Sudhana Visiting the Fifty-three Kaly？namitra” scenes in Buddhist scripture. During later renovation of the cave， the original mural containing Avalokitesvara as he appears in the Lotus Sutra was replaced by a depiction more closely in line with his form in the Garland Sutra. 第 3 页 共 3 页