本文選題：敦煌 + 曹氏歸義軍　； 參考：《蘭州大學(xué)》2016年博士論文

【摘要】：曹氏歸義軍是五代、宋敦煌的地方性政權(quán)。曹氏歷任節(jié)度使大都崇奉佛教,對(duì)敦煌的佛教發(fā)展及石窟營(yíng)建影響深遠(yuǎn),這在其開鑿的家窟中多有體現(xiàn)。莫高窟第55窟營(yíng)建于公元962-964年間,窟主為曹氏歸義軍第四任節(jié)度使曹元忠�？邇�(nèi)除供養(yǎng)人圖像后期進(jìn)行遮蓋重繪外,其他造像及壁畫均為原貌。無論是造像與經(jīng)變畫的選取與組合,還是石窟所體現(xiàn)出的宗教與世俗意義,該窟在敦煌石窟中都具有一定的代表性。本文在已有的研究成果上,運(yùn)用考古學(xué)、文獻(xiàn)學(xué)、宗教學(xué)、圖像學(xué)等研究方法,以分析圖像構(gòu)成為基礎(chǔ),深入解讀其中的佛教思想與世俗意義,進(jìn)而探求該窟的總體營(yíng)建思想。第55窟中心佛壇上塑像與窟頂西披的彌勒變構(gòu)成繪塑結(jié)合的彌勒三會(huì),共同決定著該窟的彌勒信仰;窟頂四披的四鋪經(jīng)變共同反映了十方諸佛共集一會(huì)的思想,且以彌勒凈土為核心,涵蓋其他經(jīng)變所代表的諸佛國(guó)凈土;佛壇背屏前后的圖像結(jié)合有著極為強(qiáng)烈的政治象征意味;主室東壁的七佛、《金光明經(jīng)變》與《密嚴(yán)經(jīng)變》的組合,體現(xiàn)出持戒、懺悔的石窟營(yíng)造動(dòng)機(jī),同時(shí)與窟頂西披《彌勒經(jīng)變》中所強(qiáng)調(diào)的持戒觀念相呼應(yīng);主室南北壁是《彌勒經(jīng)變》與《天請(qǐng)問經(jīng)變》、《觀無量壽經(jīng)變》與《藥師變》、《思益梵天所問經(jīng)變》與《報(bào)恩經(jīng)變》、《佛頂尊勝陀羅尼經(jīng)變》與《觀音經(jīng)變》四組圖像,其中《觀無量壽經(jīng)變》與《東方藥師凈土變》居于主導(dǎo)地位,在以彌勒思想為中心的洞窟思想表達(dá)中,給信眾以不同方位、不同層次的禮懺往生次序。第55窟融世俗理念于宗教造像之中。在世俗功利方面,懺悔、度亡、得生彌勒凈土是該窟主要的營(yíng)造動(dòng)機(jī),在表達(dá)這一動(dòng)機(jī)時(shí),圖像的配置體現(xiàn)出石窟營(yíng)建者縝密的設(shè)計(jì)理念;宗教理想方面,該窟沿襲敦煌石窟的造像傳統(tǒng),佛壇與窟頂圖像的配置重視彌勒語境的營(yíng)造,并注重與諸壁圖像的聯(lián)系和呼應(yīng),體現(xiàn)廣度眾生的彌勒精神和對(duì)多種凈土的融攝。反映了窟主作為地方最高統(tǒng)治者,在以彌勒信仰為中心的石窟營(yíng)建中,祈愿眾生皆能實(shí)現(xiàn)往生凈土之愿望。第55窟的營(yíng)建,在彰顯曹氏家族聲望與勢(shì)力的同時(shí),也表現(xiàn)出曹元忠獨(dú)特的融宗教于政治治域理念。該窟的營(yíng)建不僅表現(xiàn)出曹元忠對(duì)佛教的崇信與皈依,更是曹氏家族在敦煌歷史上作出重要功績(jī)的見證。
[Abstract]:Cao Gui Rebellion was the local power of the five dynasties, Song Dunhuang.Cao's successive dynasties made most of them worship Buddhism, which had a profound influence on the development of Dunhuang Buddhism and the construction of grottoes.Cave 55 of Mogao Grottoes was built between 962-964, and Caoyuanzhong was made by the fourth Chao Gui Rebellion.In addition to the provider of the later image cover repainting, other statues and murals are original.Whether it is the selection and combination of sculptures and scriptures, or the religious and secular significance embodied in the grottoes, the grottoes are representative in Dunhuang grottoes.On the basis of the existing research results, this paper uses the methods of archaeology, philology, religion, and imageology, based on the analysis of the image constitution, deeply interprets the Buddhist thought and the secular significance, and then probes into the overall construction thought of the cave.The statue on the Buddha altar in the center of the cave and the Maitreya transformation in the west of the cave top constitute the three Maitreya meetings that combine the painting and sculpture, which jointly determine the Maitreya belief in the cave, and the changes in the four shops of the cave top four drape jointly reflect the thought of the common meeting of the Buddhas from all sides.And with the Maitreya Pure Land as the core, covering the Pure Land of the other Buddhist countries represented by the changes; the combination of images before and after the back screen of the Buddha altar has a very strong political symbolism; and the seven Buddhas on the east side of the main chamber, the combination of "Jin Guangming's change" and "Miyan Sutra change",At the same time, it reflects the motive of holding precepts and repentance, and at the same time echoes the idea of precepts emphasized in Maitreya Sutra.The north and south walls of the main chamber are "Maitreya Sutra" and "Tian Tian's change", "View infinitesimal Life Sutra change" and "Pharmacists change", < Siyi Van Fantian asked about the Sutra change > and < return of Grace Sutra change >, < Buddha Dun Shengsheng Tuoroni Sutra change > and < Quan Yin Classic > four groups of images.Among them, "the Sutra of the endless Life" and "the Pure Land change of the Oriental Pharmacists" occupy the leading position. In the expression of the grotto thought centered on Maitreya thought, the believers are given different directions and different levels of the order of the Rite repentance.Cave 55 blends secular ideas into religious statues.In the aspect of secular utility, repentance, death, living in Maitreya Pure Land is the main motive of the cave. When expressing this motive, the image configuration reflects the careful design idea of the cave builder and the religious ideal.The cave follows the tradition of the statue of Dunhuang Grottoes. The allocation of the images of the Buddha altar and the top of the grottoes pays attention to the construction of Maitreya context, and pays attention to the connection and echo with the images of the walls, reflecting the spirit of Maitreya of all living beings and the combination of various pure lands.It reflects that the master of the grottoes, as the local supreme ruler, in the cave construction centered on Maitreya faith, wishes that all living beings can realize the wish of dying in the Pure Land.The construction of Cave No. 55 not only shows the prestige and influence of Cao's family, but also shows Cao Yuanzhong's unique concept of integrating religion into political governance.The construction of the cave not only shows Cao Yuanzhong's worship and conversion to Buddhism, but also testifies to the important achievements made by the Cao family in Dunhuang history.
【學(xué)位授予單位】：蘭州大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：K879.21
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本文編號(hào)：1737912