内容摘要：莫高窟第395窟开凿于隋代，后经重修。甬道南北两壁为五代志公画像和毗沙门天王像，主室南北两壁为西夏观音经变之救助八难，主尊为阿弥陀佛。经研究发现，甬道主题是观世音菩萨之三十三种变化身，和主室观世音菩萨救助八难，共同构成了一部完整的观世音菩萨普门品变。虽然经过五代和西夏两次重修，但是洞窟设计理念却保持一致，这可能与西夏时期盛行的法华信仰与志公和尚信仰密切相关。这一研究也意在揭示重修洞窟研究的重要价值。

关键词：莫高窟第395窟;观音经变;观世音菩萨普门品;重修洞窟研究

中图分类号：K879.21  文献标识码：A  文章编号：1000-4106（2021）04-0017-15

Abstract：Mogao cave 395 was carved in the Sui dynasty and renovated twice in later times. Images of Master Zhigong and Vaisnavara painted during the Five Dynasties are painted on the south and north walls of the caves corridor， respectively， while the wall paintings on the north and south walls of the main chamber that were created during the Western Xia dynasty depict eight scenes of Guanyin（Avalokitesvara Bodhisattva） saving people from various disasters. Research indicates that the theme of the wall paintings on the top of the corridors is the thirty-three manifestations of Guanyin， and that in combination with the scenes of Guanyin rescuing people， the paintings of cave 395 form a complete illustration of the chapter“The Universal Gate of Guanyin” from the Lotus Sutra. Although the cave was renovated in the Five Dynasties and Western Xia periods， the design of the cave remained the same because belief in both the Lotus Sutra and Master Zhigong remained consistent and widespread through the Western Xia dynasty. Finally， this study emphasizes the importance of researching renovated caves.

Keywords：Cave 395; Lotus sutra illustration; chapter on the Universal Gate of Guanyin; study on renovated caves

上个世纪初，顾颉刚先生提出“中国古史层累说”，轰动学界，依先生之观点，历史的文字叙述是一个不断“层累”的过程[1]。然而图像也存在一个“层累”的现象，这种现象重要的形式就是考古层位学上的打破、叠压与共存。历史原貌固然重要，不同时间不同空间不断增加的文字叙述及其背后的历史同样生动，佛教图像研究也是如此。巫鸿先生《敦煌323窟与道宣》提出“原创性洞窟”的概念[2]，影响很大，近年石窟个案研究也日渐增多，但主要是以保存完好、未经后代重修的洞窟为主。至于重修的洞窟，巫鸿先生最近提出：“重绘和重修的研究则将引导研究者发掘洞窟的变化和持续的‘生命。”[3]笔者同意这种看法，这类洞窟具有另外一番意义。宋西夏时期莫高窟重修洞窟的情况非常普遍，那么带来的问题是：重修之后的洞窟壁画、塑像和建筑空间之间的关系是否被打破，如果重修前后的设计理念依然保持一致，那么原因何在，如果不一致，那么又有怎样的历史背景？……