CAJ | 학술논문

睒子本生图盛行于北朝时期，莫高窟与西千佛洞保存着诸多图例。睒子故事以孝道为主题与中国传统伦理道德思想十分吻合．特别是北周至隋代十分流行。本文主要分析啖子本生图，对其构图形式，即横幅多场景画卷形式的展开与样式上的发展进行探讨：并与印度、犍陀罗、克孜尔及麦积山、云冈石窟的例证进行比较，详细验证敦煌壁画中啖子本生的画卷形式、连环画形式及异时同图法等，认为敦煌壁画中的睒子本生并非汉代传统形式的延续，而是在印度·犍陀罗的影响之下所形成的。
섬자본생도성행우북조시기，막고굴여서천불동보존착제다도례。섬자고사이효도위주제여중국전통윤리도덕사상십분문합．특별시북주지수대십분류행。본문주요분석담자본생도，대기구도형식，즉횡폭다장경화권형식적전개여양식상적발전진행탐토：병여인도、건타라、극자이급맥적산、운강석굴적예증진행비교，상세험증돈황벽화중담자본생적화권형식、련배화형식급이시동도법등，인위돈황벽화중적섬자본생병비한대전통형식적연속，이시재인도·건타라적영향지하소형성적。
The illustration of Samaka Jataka, which mainly advocated the filial piety, was very consistent with traditional moral ideas of China, was popular in the Northern Dynasties, particularly in the period from the Northern Zhou to the Sui dynasties. Many examples have been preserved in Mogao Grottoes and the Western Caves of Thousand Buddhas. This article mainly studies illustrations of Samaka Jataka and discusses the development of the compositions, namely spread of the horizontal multi-scene painting and the evolvement of its forms. By comparing present examples in India, Gandhara, Kizil, Maijishan and Yungang Grottoes, and by in-vestigating the scroll painting, story painting strip of Samaka Jataka in Dunhuang Murals and its representing methods of depicting episodes of different periods together in one painting, the author thinks that Samaka Jatakain Dunhuang Murals derived from Indian and Gandharan prototypes rather than traditional Han Dynasty ones.