Study on the kasaya patterns of Ksitigarbharaja bodhisattva in Dunhuang paintings of the Tang and Song Dynasties collected by Britain and France
Among the cultural relics unearthed in the Dunhuang Sutra Cave,there are a large number of paintings from the 7th to the 10th century,which are generally referred to as"Dunhuang paintings".At the beginning of the 20th century,after the Dunhuang paintings were discovered,foreign explorers represented by Marc Aurel Stein and Paul Pelliot went to the Mogao Grottoes to steal them.At present,the lost Dunhuang paintings are mainly collected in Britain,India,France and Russia.Among the current public image materials,some of the collections of Britain and France have been sorted out for many times,and the series of atlas of The Art of Central Asia published by Kodansha is the most systematic and comprehensive.Among them are a collection of exquisite paintings of the Ksitigarbharaja bodhisattva,painted from the middle and late Tang Dynasty to the Song Dynasty.These Ksitigarbharaja bodhisattvas are mostly classic works in Dunhuang paintings,and their kasaya patterns are abundant and colorful,which is of great research value.In this paper,by taking the Ksitigarbharaja bodhisattva,who wore the kasaya pattern,as the research object,the inner and outer kasaya patterns were sorted out and divided into two categories:the common patterns used in kasaya,such as gold diamond pattern,concentric circles linked-pearl pattern and roundel pattern;specific patterns of kasaya,such as cloud and water patterns and thread patterns.In the remaining Dunhuang paintings of the Tang and Song Dynasties collected by Britain and France,the kasaya patterns of Ksitigarbharaja bodhisattva are distributed in each stripe area of the kasaya,and have the characteristics of symmetry and regularity,playing an auxiliary role in constructing the stability and solemn sense of the Dunhuang paintings.The common patterns used in kasaya developed early,and were all used in the costumes of figures and the border ornaments of grottoes,reflecting the unity of Dunhuang buddhist art in decorative style.The exclusive pattern of kasaya is used exclusively on the dress of the Samana figure,which is a unique symbol of buddhist identity.During the Song Dynasty,with the prosperity of the belief in Ksitigarbha,Ksitigarbharaja bodhisattva often ranked as the main figure in the image of Ten Kings,and related kasaya pattern was more precise and more characteristic in the Dunhuang paintings.At the same time,the pattern content and decorative expression techniques of kasaya also reflect the close connection with the textile technology at that time to a certain extent,and enrich the textile historical materials.Therefore,the kasaya patterns of Ksitigarbharaja bodhisattva in Dunhuang paintings of the Tang and Song Dynasties are not only exquisite and highly decorative,but also a three-dimensional presentation of his image identity,belief boom and Tang textile technology.Mainly based on the images of Ksitigarbharaja bodhisattva in the Dunhuang paintings of the Tang and Song Dynasties recorded in The Art of Central Asia,this paper combed the kasaya patterns worn by the Ksitigarbharaja bodhisattva.At the same time,it traced back the physical kasaya and the textile process of the Tang and Song Dynasties,and verified the kasaya patterns of Ksitigarbharaja bodhisattva to further understand people's interpretation of the identity and function of Ksitigarbharaja bodhisattva at that time,so as to explore the influence of the centralization of Ksitigarbha belief on related image patterns in the Tang and Song Dynasties,and to provide theoretical reference for the age judgment and style study of Ksitigarbharaja bodhisattva's kasaya patterns in Dunhuang.
the Tang and Song Dynastiesbuddhist artDunhuang paintingsKsitigarbharaja bodhisattvakasaya patternscloud and water pattern
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