内容摘要：永靖炳灵寺第169窟西秦遗迹，系中国早期佛教物质文化的重要内容。本文讨论了其中学界没有确定的图像尊格和若干造型因素的由来，认为北壁12号壁画说法图为梵天劝请内容，北壁3号龛泥塑二胁侍应分别为菩萨、执金刚力士像，进而指明其犍陀罗和西域文化渊源，以及在汉文化地区的后续影响情况；继而分析了本窟西秦壁画鲜花、花鬘供养图像及花树庄严图像与犍陀罗和西域文化因素的关联。炳灵寺第169窟西秦遗迹，具体、真实地反映了犍陀罗文化因素东传和新发展情况。

关键词：炳灵寺第169窟；西秦佛教图像；犍陀罗文化；梵天；执金刚力士

中图分类号：K897.26 文献标识码：A 文章编号：1000-4106（2017）03-0016-18

Abstract： The relics of the Western Qin Kingdom in Cave 169 at the Binglingsi Grottoes are very important components of early Chinese Buddhist material culture. This paper discusses the origins and modeling of some unidentified characters from the murals found in the cave and comes to the following conclusions： painting No. 12， of Buddha preaching， on the north wall is in fact a depiction of Brahmas Request； and the two clay attendant statues in cave 3 on the north wall are Bodhisattva and Vajradhara. On this basis， the author further demonstrates that the works iconographic origins come from Gandhara and the Western Regions， identifies the subsequent effects of these cultures in an area dominated by Han-Chinese culture， and then analyzes the connections between the images on the north wall， with a special eye for depictions of flower offerings， flower tendrils， and decorative flower-trees， and the art and culture of Gandhara and the Western Regions. These Western Qin relics in Cave 169 at the Binglingsi Grottoes accurately and authentically reflect the eastward spread and development of Gandharan cultural elements.

Keywords： Cave 169 at the Binglingsi Grottoes； Buddhist images of the Western Qin； Gandharan art； Brahma； Vajradhara

永靖炳灵寺石窟第169窟位于窟群北端，系天然洞穴，坐西面东，平面作不规则马蹄形，南北横宽26.75米，东西进深19米，高15米，洞口距地面45米（图1—2）[1]。该窟因发现西秦建弘元年（420）题记，且遗存相当数量西秦雕塑和壁画遗迹，从而成为考察中国早期佛教物质文化的重要基点和时代标尺，并取得可观的研究成果，大体可以归纳为遗迹分期、人物造型样式、图像内容三个方面。然而，西秦遗迹中某些没有确定的图像尊格和若干造型因素的由来问题，长期以来没有引起研究者足够重视，至今未能形成清晰认识，还存在不小的探索空间。

炳灵寺第169窟属于汉文化地区佛教物质文化初期发展阶段遗存，保留着诸多印度文化尤其犍陀罗文化成分，系印度文化与汉文化交汇融合的产物。……