Xing zhi yu li jiao: chu Tang shi qi Dunhuang shi ku qun gong yang ren tu xiang yan jiu = Graphic system, etiquette, and rituals : the images of donors in the cave temples of Dunhuang during the early Tang dynasty

Ph.D.This thesis mainly focuses on the research of donors' images in the cave temples located in the Dunhuang area during the early Tang Dynasty (between 618 to 704 AD). This period is an obvious turning point in the art history of the local grottoes, with distinctly transformative features. Due to the lack of systematic imagery of the donors and the lack of image data, there was no systematic and comprehensive study on this topic. Therefore, this research systematically sorted and analyzed the images of the donors who had important influences on the grottoes during an important period.By reviewing cave-dated research documents, 59 caves were delineated for this research topic. By archaeologically arranging the images of the donors in the original materials for 28 of the 59 caves, mistakes in previous literature records were corrected. Moreover, the images were analyzed and studied through a combination of typology and functional sciences, as well as when divided into four layout types and three categories.Based on the aforementioned archaeological research and classification, research was conducted on the changes in the paintings. The results proved that the aristocratic class and the elite class in the donors' community were seriously affected by the ethics of the Tang court, and that they strictly adhered to the rules of "forbidding the faces of women to be seen outside" and "a distinction should be made between males and females". Furthermore, the research concluded that, the transformation of the monastic economy of the Middle Ages should be considered starting from the early the Tang Dynasty.According to the research on the new pattern of donors' images, the results proved that the "single composition painting as the offering" images on the East Wall has functioned as "transcendence of the dead (in the images) to the pure land". There were donors who presented themselves in the images by kneeling with the right knee on the ground and the left knee up ("胡跪"). These kneeling postures were related to the transformation of the "central axis" into the structure of the "central mandala". The last part of this research was about drawings of the donors in the "double knee kneeling" posture. Based on the images, the research proposed that under the strict legal policy of the Tang court, the absorption and self-adjustment of Buddhism's analogue to Confucianism's "filial piety" in the early Tang Dynasty was the key to Buddhism finally reaching secularization and surviving for thousands of years.This article starts with the images of the donors and intends to retell the true situation of the donors' community in Dunhuang during the early Tang Dynasty. The results of this research can also rectify the historical facts on the relationship between the political and religious groups in Dunhuang and Chang'an in the 7th and 8th centuries, as well as refine and modify the understanding of the politics, religion, and society of the Tang Dynasty.本文以初唐敦煌石窟群壁畫中的供養人圖像為主要研究對象，具體時期為唐高祖至武周時期，即大約公元618年至705年之間。初唐敦煌石窟壁畫藝術是敦煌石窟藝術的一個鮮明轉折點。石窟以220窟“家窟”的產生為標誌，壁畫藝術新元素的出現被認為與供養人群體有密不可分的關聯。但由於迄今供養人圖像整理未有系統，圖像資料長期缺乏，學界一直對此材料認識不足，缺乏整體綜合性研究。因此，本文將以初唐為主要時代，對此重要轉變期，且對石窟有重要影響的供養人之圖像進行系統地整理和分析研究。筆者通過對初唐石窟各家斷代資料整理，劃定研究範圍共有59個石窟，其中28個石窟壁畫有同時期供養人圖像。以此批圖像為原始材料，首先補正了《敦煌石窟內容總錄》之錯漏；再次，將28個石窟中的供養人壁畫按佈局分為四種，以供養姿勢分為三類，分別進行分析與研究。根據以上研究總結，初唐時期“供養出行圖”數量驟跌，同時，“單幅供養圖”、“跪式供養”作為新樣出現。研究證明供養人群中的“通貴階層”受唐廷禮教影響嚴重。更進一步地得出中古時期寺院經濟體轉，應該從初唐高宗便已開始之結論。挑戰對於初唐時期本地經濟供養體的傳統認知。從供養新圖樣上，證明東壁門上單幅供養像俱有“追亡薦福”之功能；初唐新見世俗供養人“胡跪”，與石窟多重華嚴結構成立、敦煌禮儀懺法流行緊密相關；同時，對於“雙膝跪拜式”供養圖像，提出其姿勢的反常性與唐代律法之聯繫。由圖像觀察，得出在唐廷嚴酷的律法政策下，初唐時期佛教對儒家“孝親”概念的吸納與自我圓融，是以佛教實現其世俗化，得以長存的關鍵原因。本文從供養人圖像入手，旨在還原初唐供養人群體的真實情況。研究結果，亦可補正七世紀至八世紀敦煌——長安政教關係史實，完善對唐代政體——宗教——世俗鏈條的認識。肖浪."2018年9月".Parallel title from added title page.Thesis Ph.D. Chinese University of Hong Kong 2018.Includes bibliographical references (leaves 215-244).Abstracts in Chinese and English.Title from PDF title page (viewed on January 26, 2022).Xiao Lang