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吐峪溝第42窟禪觀壁畫研究——兼及漢文禪觀文獻的起源

An Examination of Mural Paintings of Visualizing Monks in Toyok Cave 42: in Conjunction with the Origin of Some Chinese Texts on Meditation

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【作者】 山部能宜陳瑞蓮

【Author】 Nobuyoshi YAMABE;CHEN Ruilian;College of Arts, Waseda University;Information Center for Dunhuang Studies, Dunhuang Academy;

【機構】 早稻田大學文學學術院敦煌研究院敦煌學信息中心

【摘要】 吐魯番吐峪溝第42窟有并列禪觀比丘壁畫。這些壁畫似乎與禪觀經典有關,但其確切關系還不明顯。第42窟的壁畫內容與禪觀經典文本的描述在一定程度上存在著一致性,而且不少成組的場面都能與文本的相關內容對應上,但就總體布局而言,這些畫面卻和當今所見的所有文本都不一致。所以其壁畫作品未必是以某一經典為藍本的,很有可能依據的是當地的禪觀傳統,壁畫所依據的經典很可能是吐魯番的地方產物。這個意見對學界長期爭論不休的《觀無量壽佛經》來源地的問題也有可能提供重要的著眼點。

【Abstract】 Toyok cave 42 contains wall paintings of visualizing monks that seem to be associated with Chinese texts on meditation. The wall paintings accord with descriptions of meditation in the texts to a certain extent and corresponding depictions can be matched for some paired scenes, though the overall layout of these scenes is inconsistent with those found in texts available today. Therefore, the wall paintings are not necessarily based on a single sutra but likely come from local meditation traditions; indeed, the text the wall paintings are based on may have originated from Turfan. This explanation could provide key information on the origins of the Amitayus Visualization Sutra which has been in endless dispute.

  • 【分類號】K879.41
  • 【下載頻次】240
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