摘要
吐蕃经营丝绸之路的上百年时间,藏、汉两种文字的《金光明最胜王经》的传抄、读诵异常兴盛.吐蕃不仅从梵文翻译了此经的全译本和简缩本,还从汉文全译了此经,使此经成为丝绸之路上流传最广的五部佛经之一.由于统治阶层和普通百姓的共同推崇,此经由"经"入"画",作为经变,被绘制在了莫高窟.那么现今刊布的大藏经《甘珠尔》中多种版本的《金光明最胜王经》,能否在敦煌抄本中找到对应经本呢?经过深入梳理,本文将德格版《甘珠尔》中的《金光明最胜王经》诸版本在敦煌佛经文献中一一找出了对应抄本.在此基础上,本文对敦煌莫高窟所绘中唐金光明最胜王经变在前人基础上作了梳理,结合《金光明最胜王经》的翻译和传播,认为吐蕃经营丝绸之路期间,为中华文明的繁荣和中华民族交往交流交融作出了历史性贡献;绘有金光明最胜王经变的吐蕃洞窟壁画,成为各种文明在丝绸之路交流、共融,丝绸沿线各个族群互动、融合的历史画卷.
Abstract
The copying and reading of the Golden Light Sutra in both Tibetan and Chinese flourished during the century of the Tibetan domination of the Silk Road region.In the Tubo period,the sutra was translated into Tibetan from Sanskrit as well as from Chinese.It was one of the five most prevalent Buddhist sutras along the Silk Road.Praised by the ruling class and common people alike,its narrative is depicted in the Mogao Caves.This paper identifies the Dunhuang manuscript that corresponds to each of the multiple versions of the Golden Light Sutra as included in the Derge Kanjur.Pivoting on the existing literature about the sutra,the paper considers the illustrations of this sutra's narratives in the Mogao Caves during the Mid-Tang period.The authors argue that Tubo's rule of the Silk Road area stimulated the integration of different kinds of cultures.The murals of the Golden Light Sutra in the Mogao Caves reflect cross-cultural communication and cultural integration along the Silk Road.
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