周晓萍

摘 要：莫高窟遗存“行僧取经伏虎图像”创作源起为唐末、五代蔚然成风的禅僧行脚，以单尊禅僧行脚为形象依托的“宝胜如来佛”的转换是对隋唐以来敦煌金光明信仰的延续。在诸民共生的唐末宋初敦煌，行僧取经伏虎图像呈现的是一种脱离印度佛教绘画，而重建了一套顺应敦煌民情的宗教绘画视觉形式与形象思维方式。行僧取经伏虎图像在“式”与“饰”之间的架构中彰显了文化的“融”与“合”，在物质借用与融合中达到了图像视觉特征与信仰功能的统一。以绢纸亦或是壁面承载笔、墨、彩的运用中形成了历史记忆的风格演化。

关键词：梵貌胡像;伏虎图像;禅僧行脚;宝胜如来;社会信仰

中图分类号：J2186  文献标识码：A  文章编号：1671-444X（2020）03-0062-09

国际DOI编码：1015958/jcnkigdxbysb202003010

Abstract：The creation of the image “Buddhist Monk with Crouching Tigers on His Pilgrimage for Buddhist Scriptures” as one of the remains of Mogao Grottoes originated from Buddhist monks practice of pilgrimage that was prevalent in the late Tang Dynasty and the Five DynastiesThe transformation from the worship of Buddhist monks pilgrimage to the image of “Ratna -sam！bhava” is a continuation of belief in suvar aprabhāsasūtram since Sui and Tang Dynasties in DunhuangDunhuang during the late Tang Dynasty and early Song Dynasty witnessed a national amalgamation and thus the image is different from Indian Buddhist painting as it reconstructed a set of visual forms and the modes of imagery thinking that conformed to the folk customs in DunhuangThe construction of “style” and “ornament” in the image displays the cultural “integration” and “fusion” which gained unity of the visual feature and belief functionThe stylistic evolution developed with the borrowing and fusion of material and the application of silk paper or that of pen，ink and color on walls

Key words：Buddhist Appearance with Foreign Images （Fan-mao-hu-xiang）;the image of crouching tiger;Baosheng Tathagata;social belief

  行僧、行道僧圖像曾在唐代两京地区、蜀地风靡一时。现今能够见到的行僧取经伏虎图像（后文简称行僧伏虎图像）的遗存唯属敦煌发现最多。目前统计共有20幅，其中12幅为流存于世界各地的绢、纸卷轴画发现于莫高窟藏经洞（第17窟）流存世界各国的12幅行僧图像分别为：法国巴黎国立图书馆馆藏P3075，P4518，P4074，P4029号纸本;法国吉美国立东洋美术馆藏MG17683号纸本和EO1141，EO1138号绢本;大英博物馆藏Ch0037，Ch0038号纸本;日本奈良天理大学附属图书馆藏722—ィ13;韩国国立博物馆藏4018号纸本;俄艾尔米塔什博物馆藏无卷号纸本。、8幅为洞窟壁画。莫高窟第306、308、363窟甬道各两幅，第45窟前室西壁门上南北两侧。画面构成大同小异，主体形象为一行脚僧模样的取经僧人，高鼻、深目、满脸虬髯的痕迹，刻画出了胡族僧的形象特点。……