CAJ | 학술논문

相对于中唐之前的敦煌洞窟,中唐和晚唐的洞窟壁画出现了一些新的特点.这些特点是:中唐231窟和237窟出现了连续的佛陀瑞像图,此外,在晚唐的85窟和95窟出现了佛传故事的复兴.这两个新特点出现有一定的原因,并且它们之间有相互联系.佛陀瑞像图的出现和佛传故事画的出现都是指向过去,指向本源的、真正的佛陀.这些新特点背后隐藏的是佛教中国学派的衰落和晚唐时期人们日常生活关注重点的转移.
상대우중당지전적돈황동굴,중당화만당적동굴벽화출현료일사신적특점.저사특점시:중당231굴화237굴출현료련속적불타서상도,차외,재만당적85굴화95굴출현료불전고사적복흥.저량개신특점출현유일정적원인,병차타문지간유상호련계.불타서상도적출현화불전고사화적출현도시지향과거,지향본원적、진정적불타.저사신특점배후은장적시불교중국학파적쇠락화만당시기인문일상생활관주중점적전이.
Compared with caves excavated before the mid-Tang, there were many new characteristics in Dunhuang murals during the middle and late Tang periods, which were as following:the appearance of the auspicious Buddha images in the Middle Tang caves like Cave 231, 237 and the revival of Jatakas in the Late Tang caves like Cave 85, 95. This article tries to explain the reasons for the two characteristics and the connections between them. The appearance of auspicious Buddha images and the revival of Jatakas both directed to the past and to the authentic Buddha. What lies behind these phenomena are the decline of Chinese schools of Buddhism and the changing concerns of people in the Later Tang period.