文章在前人研究的基础上,结合藏文文献,对柏林勃兰登堡科学院藏吐鲁番出土的TibHT 107号(T II D 19和T II D 20)梵藏回鹘文多语种《二十一度母礼赞经》文本和版画残片进行了再次研究.结果显示,其中的藏文赞词来源于《甘珠尔》同名经典,其中T II D 19号残片中的藏文为第六位度母释梵火天母的赞词,T II D 20号残片中的藏文为第五位度母怛啰吽字母的赞词.吐鲁番版上图下文的版式受到内地唐末以来传统的影响;经与文献比对,版画中度母的造型按日护传规的样式创作而成,绘画风格体现出浓郁的元代宫廷藏传艺术特点;多语种文本和版画综合特征显示,吐鲁番版极有可能来自元朝首都北京或按其刻本仿制而成.该残片为元代多民族文化交融的具体结晶.
A Re-study of TibHT 107 on Twenty-One Taras Discovered in Turfan and Housed in Berlin——Also a Discussion on the Integration of Multi-ethnic Cultures in the Yuan Dynasty
On the basis of previous research and related Tibetan texts,this paper re-examines the text and wood-cut fragments of the Sanskrit-Tibetan-Uighur multilingual praise of the Twenty-one Taras(T II D 19 and T II D 20)discovered in Turfan and housed in Berliin-Brandenburgische Akdemie der Wissenschaften.The results shows that the Tibetan praises were derived from the same text of Kangyur,in which the Tibetan text in T II D 19 is the praise to the sixth Tara,and the Tibetan text in T II D 20 is the praise to the fifth Tara.The layout of imag-es and texts in the fragments is influenced by the tradition of the hinterland of China since the late Tang Dynasty.After comparing with the texts,the images of Tara in the prints were created in the tradition of Suryagupta,and the painting style reflects the strong characteristics of Tibetan Buddhist art by royal workshop in the Yuan Dynas-ty.The combined characteristics of the multilingual texts and prints suggest that the fragments of Turfan most likely came from the Yuan capital,Beijing or was copied from its models.The fragments are the concrete crystal-lization of the multi-ethnic cultural integration of the Yuan Dynasty.
TurfanTibHT 107Twenty-one TarasmultilingualwoodcutsYuan Dynastythe Integration of Multi-ethnic Cultures
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