摘要
南诏时期“善业泥”可分为泥佛像、泥塔和梵文咒语泥牌三类,其中泥佛像包括单尊造像和组合造像,从出土位置、造像风格及历史背景来看,其年代应在南诏晚期。根据造像特征、伴出物和文献记载情况,南诏时期的“善业泥”主要受唐代中原地区的影响。同时,南诏出土的部分“善业泥”可能受吐蕃的影响,这或许为探索两者的文化交流提供了线索。而南诏与东南亚地区的交流,在实物和文献方面都有发现,南诏出土的梵文咒语泥牌可能源于这一区域。在咒语泥牌放置、出土位置、造像题材方面,南诏“善业泥”也形成了一些地方特色,这些地方特色的形成应与南诏晚期佛教的发展密切相关,是南诏国力强盛后自身意识不断提高,进而追求与唐朝同等政治地位的历史背景的反映。
Shanyeni(terra-cotta Buddhist figurines) created during the Nanzhao period can be divided into three categories: statues of Buddha, pagodas and plates with Sanskrit mantras, among which the statues of Buddha include single statues and group statues. Based on their locations, style and the historical background, they are dated to the late period of Nanzhao. According to the feature of statues, accompanying unearthed objects and historical literature, Shanyeni of Nanzhao was mainly influenced by the Tang Dynasty. Meanwhile, some of them reflect possible influence of Tubo, providing a clue to explore the cultural exchange between them. The interaction between Nanzhao and Southeast Asia is shown in both archaeological remains and literature, as the plates with Sanskrit mantras unearthed in Nanzhao might originate from this area. In terms of the placement of the plates with Sanskrit mantras, their excavated locations and the theme of statues, the Shanyeni of Nanzhao had formed its local characteristics, which should be closely related to the development of Buddhism in the late period of Nanzhao. It’s a reflection of the continuous wakening of self consciousness when Nanzhao grew stronger and began to seek an equal political status with the Tang Dynasty.
出处
《四川文物》
北大核心
2022年第5期69-79,共11页
Sichuan Cultural Relics
基金
四川省社会科学重点研究基地四川佛教文化遗产研究中心项目“大理国密教的来源和性质研究:以火葬墓和舍利瘗埋为中心”(项目编号:2021YB02)。
关键词
善业泥
南诏晚期
中原地区
吐蕃
东南亚
Shanyeni(terra-cotta Buddhist figurines)
Late period of Nanzhao
Central Plains
Tubo
Southeast Asia
