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敦煌莫高窟西夏时期石窟中千佛图像颇为流行,总结这些千佛图像的特征,可以看到其与曹氏归义军晚期千佛图像有密切的关系,二者之间在内容题材、艺术形式等方面极其相似。另一方面,西夏时期的瓜沙石窟中,沙州的莫高窟流行传自归义军晚期的千佛变,而在瓜州的榆林窟、东千佛洞则以藏传密教图像为主流。对于西夏时期莫高窟流行千佛图像,究其原因,主要有两点,一是对曹氏画院时期广泛使用过的千佛粉本刺孔的继承与使用;二是通过千佛图像的绘制反映以敦煌世家大族、高僧大德为代表的汉人社会,在西夏民族统治下的思想危机,其中以千佛图像所表达出来的佛教末法思潮最具时代特征。
Dunhuang Mogao Grottoes in the Western Xia Dynasty thousands of Buddha images are quite popular, summed up the characteristics of these images of the Buddha, we can see that it has close relationship with the late Tombs of the CAO Yi Army image, the two topics in the content, art Forms and other aspects are extremely similar. On the other hand, among the Guazha Grottoes in the Western Xia Dynasty, the Mogao Grottoes in Shazhou were popularly populated by the Thousand-Buddha Transfiguration in the later period of the Yijun Army, while in the Yulin Grottoes of Guazhou, the East Thousand-Buddha Cave was dominated by the Tibetan-related Miu-sen images. There are two main reasons for the popular images of Qianfutang in the Mogao Grottoes during the Western Xia Dynasty. The first one is the inheritance and use of the Thorns and Thorns of Thousand-Buddha Powders that were widely used during the period of Cao’s Painting. The second is through the drawing of the images of Thousand- Reflecting the ideological crisis under the rule of Xixia nationality in the Han Chinese society represented by the monks of the great families and monks in the Dunhuang monarchy, the most notable feature of the Buddhist dharmachal ideology expressed in the images of the thousand and thousand Buddhism is the most characteristic.