敦煌莫高窟第285窟北壁供养人像和供养人题记-《敦煌研究》(2016年1期).docx

龙源版权所有 敦煌莫高窟第285窟北壁供养人像和供养人题记作者：石松日奈子 著　筱原典生　于春 译来源：《敦煌研究》2016年第01期 内容摘要：敦煌莫高窟第285窟（西魏）的营造过程，历来有两种解释：其一是窟内的塑像和壁画统一规划制作，各壁面的造像内容相互关联；其二是按照西壁→南壁和天井→北壁和东壁的顺序依次制作，由于施工途中计划改变，导入了新的构思和中原风格等壁画样式。笔者赞同后者之说。通过对北壁壁画的图像、样式、画技、材料、色彩、供养人像的构成和服装、供养人题记等进行详细分析，认为七幅壁画由四个不同的画家团队绘制。七幅说法图是汉族和胡族的混血家族集团成员的小规模供奉。第285窟可能是原本作为僧人修行场所的莫高窟，对在家信徒开放供奉的初例。 关键词：莫高窟第285窟；供养人像；题记；北方系胡服；西方系胡服 中图分类号：K879.21 文献标识码：A 文章编号：1000-4106（2016）01-0012-14 Abstract： There are currently two prevailing interpretations on the process of construction of Mogao Cave 285 in Dunhuang dated to the Western Wei period. One is that all sculptures and paintings in the cave were produced under a consistent plan and that the sculptures and paintings on each wall represent interrelated subjects. The other is that decorations of the cave were first made on the west wall， next on the south wall and ceiling， and lastly on the north and east walls， and that some change was made in the original plan to introduce new ideas and painting styles from the Central Plains. Supporting the latter interpretation， the author of this article thoroughly examines the paintings on the north wall， including the styles， techniques， materials， way of applying pigments， composition of donors， clothing， and Chinese inscriptions added to the images， and considers that the seven preaching scenes painted on the north wall were completed by four different groups of painters. The author further observes that the seven preaching scenes could be small-sized donations offered by some various families of Chinese and non-Chinese Hu and regards Cave 285 as one of the early cases in which the Mogao Caves- hitherto a place reserved exclusively for monks’ practices- were opened to lay believers. Keywords： Mogao Cave 285； donor figures； inscriptions； non-Chinese costumes from the north； non-Chinese costumes from the west 一 第285窟的研究焦點 以第285窟的结构和佛像、壁画为中心，在图像、样式、题材出处和释读等方面已有丰硕成果。然而，石窟营造事业离不开发愿、奉献之人，佛像或石窟中经常出现他们的形象，即所谓“供养人像”。敦煌莫高窟从五胡十六国时期以来持续营造约一千多年，留下了汉、鲜卑、吐蕃、回鹘