摘要
敦煌莫高窟第209窟为唐前期第一期洞窟,位于南区崖面二层第96窟南侧。其形制为覆斗顶洞窟,西壁设佛坛,原佛像已损毁。洞窟前室东侧坍塌暴露室外,仍可看出顶部为人字披,曾有影塑千佛,主室窟顶凿井绘石榴葡萄井心,东、南、北三披与南、北、东壁均绘有说法图(图1)。1第209窟最引人注目的是围绕西壁佛坛的山水图像,这幅山水场景被认为是初唐新样式山水的代表,摆脱了“人大于山”的局面,因而该洞窟一直受到山水画学者的重视。
Cave 209 at Mogao is dated to the early-mid 7 th century.The four landscape panels that surround the main alter have been frequently discussed by historians of Chinese landscape painting.At the same time,scenes of the Ajatasatru Narrative within the landscape are the earliest representations of the Meditation Sutra.This paper brings together studies of landscape painting and Buddhist iconography to discuss developments of representational space in Pure Land art.I argue that the landscape panels around the main niche represent Vulture Peak,and the cave space is related to Pure Land repentance rites.The cave is designed to invite the viewer to gain experience of the Ajatasatru Narrative through the perspective of Lady Vaidehi.
作者
冯安宁
Anne Feng(Harvard University)
出处
《丝绸之路研究集刊》
2020年第1期224-251,480,共29页
Journal of the Silk Road Studies
