敦煌莫高窟第320窟大方等陀羅尼經(jīng)變考釋

王惠民

內(nèi)容摘要：敦煌莫高窟第320窟南壁壁畫題材不見于其他洞窟，一直未能定名。通壁壁畫由中央說法會、下方寶池蓮花化生、兩側(cè)蓮莖和千佛三部分組成，論文認(rèn)為這是依據(jù)北涼法眾譯《大方等陀羅尼經(jīng)》繪制的一鋪經(jīng)變，宣傳釋迦說陀羅尼時幻現(xiàn)出的景觀。《大方等陀羅尼經(jīng)》在中國南北朝時期就十分流行，對中國佛教影響較大。第320窟大方等陀羅尼經(jīng)變的發(fā)現(xiàn)，使敦煌石窟又增加了一種新經(jīng)變。

關(guān)鍵詞：莫高窟第320窟；《大方等陀羅尼經(jīng)》；經(jīng)變畫

中圖分類號：K879.41 文獻(xiàn)標(biāo)識碼：A 文章編號：1000-4106（2018）01-0091-09

A Textual Study on the Mahavaipulya Dharani Sutra Illustration in Mogao Cave 320

WANG Huimin

（Archaeology Institute， Dunhuang Academy， Dunhuang， Gansu 736200）

Abstract： The theme of the wall painting on the south wall of Mogao cave 320 has not been seen before in other caves and thus has not yet been formally denominated. The painting covering this wall consists of three parts： a preaching scene in the center， a treasure pond with lotuses and reborn souls at the bottom and a combination of the thousand-Buddha and lotus stem motifs on two sides. It is believed by the author that this is an illustration depicting the illusory landscape that appeared while the Buddha was preaching the Dharani to his followers， and was painted according to the Mahavaipulya Dharani Sutra translated by Fazhong in the Northern Liang dynasty. This sutra was popular in the Southern and Northern dynasties and exerted considerable influence on the development of Chinese Buddhism. The discovery of the Mahavailulya Dharani Sutra illustration in cave 320 is a significant addition to the list of already identified sutra illustrations in Dunhuang caves.

Keywords： Mogao cave 320； Mahavaipulya Dharani Sutra； sutra illustration

敦煌莫高窟第320窟是敦煌石窟中最精美的洞窟之一，南壁說法圖上方四飛天往往作為敦煌藝術(shù)的代表而頻頻提及。該窟為覆斗形頂，平面方形，東西進(jìn)深、南北寬均為4.4米，正壁（西壁）開一敞口龕，龕內(nèi)塑一倚坐佛二弟子二脅侍菩薩（現(xiàn)存4身，缺南側(cè)弟子阿難像），壁面繪八弟子（與兩身弟子塑像組成十弟子）、二脅侍菩薩（如果把龕外兩側(cè)各一身菩薩算在一起的話，則為繪塑六身脅侍菩薩），龕頂繪一倚坐佛說法（一佛二弟子四菩薩二天王，二天王均執(zhí)一把劍）。第320窟龕頂這鋪彌勒說法圖可視為彌勒三會的簡略形式，與龕內(nèi)主尊倚坐佛構(gòu)成上生、下生之圖像組合（三會屬于下生，而上生彌勒像應(yīng)該是菩薩形，龕頂倚坐佛或是變通表示彌勒上生像，但更有可能也是表示下生彌勒佛說法，待考）。可資參考的是，第172窟龕頂畫三組倚坐佛說法圖表示彌勒下生三會，龕內(nèi)塑像主尊也是倚坐佛像。……