唐宋之际敦煌石窟马蹄形佛坛设计意涵探析——以莫高窟第196窟为例
An analysis of the design implications of the horseshoe-shaped Buddhist altar in the Dunhuang Grottoes:Cave 196 of the Mogao Caves as an Example
史文文1
作者信息
摘要
敦煌石窟中的马蹄形佛坛流行于唐宋之际,以莫高窟第196窟为例,通过实地考察结合文献研究发现,它在洞窟中具有多重功能属性,除充当戒坛外,马蹄形佛坛设计的目的是配合洞窟整体发挥着礼忏功能.其设计不仅有利于拉开有限空间,从而方便礼拜,更深层次的意涵则是通过高大的主尊和由马蹄形佛坛为焦点构建视觉形象,对步入"佛域"的信徒造成极强的视觉和心理效应,配合马蹄形中部缺口作为联通佛国的通道,发挥着引导"朝圣"者往生净土的作用.研究结果表明,以莫高窟第196窟为代表的马蹄形佛坛背屏洞窟,其西壁整铺的劳度叉斗圣变图像的出现绝不仅仅是纪念戒坛的起源,关联到这一时期集中出现的大窟以及图像组合意义还有待进一步的探讨.
Abstract
The Horseshoe-shaped Buddhist altar in the Dunhuang Grottoes was popular in the late Tang to Song dynasties,and as can be seen in Cave 196 of the Mogao Grottoes,for example,through field re-search combined with literature found that it had multiple functional attributes in the cave.In addition to serving as a precept altar,the Horseshoe-shaped altar design was to match the cave as a whole to play the function of ritual confession.Its design was not only conducive to open up the limited space,thus fa-cilitating worship,the deeper meaning was through the tall main statue and the cave space built by the horseshoe-shaped altar as the focal point created a strong visual and psychological effect on the believers who enter the"Buddha's domain",and the central horseshoe-shaped gap served as a passage to the Bud-dha's kingdom,leading the"pilgrims"to the Pure Land.The research results show that the horseshoe-shaped Buddha altar back screen caves represented by Mogao Cave 196,the west wall of the whole pave-ment of the Laodu Fork Fighting Saints image was not just to commemorate the origins of the altar of pre-cepts,associated with the concentration of large grottoes in this period as well as the significance of the image combinations are to be further explored.
关键词
马蹄形佛坛/莫高窟第196窟/设计意涵/礼忏空间/净土往生Key words
Horseshoe-shaped Buddhist altar/Cave 196 of the Mogao Grottoes/Architectural form/Con-fession space/Pure Land rebirth引用本文复制引用
出版年
2024
NETL
NSTL
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