劳度叉斗圣变未出现于敦煌吐蕃时期洞窟原因试析

学术界传统意见认为,敦煌中唐吐蕃之后洞窟中以整壁一铺巨幅画面大量出现的劳度叉斗圣变,主要是意在表现当时人们对推翻吐蕃统治的喜悦心情,属洞窟中的反蕃历史题材.但文章作者并不同意这一传统观点,而从艺术与形式的关系入手,经过对劳度叉斗圣变绘画特点的综合分析,认为劳度叉斗圣变之所以在经过北周初唐的表现后而在中唐吐蕃期洞窟中突然中断,又在晚唐五代宋洞窟中大幅表现,主要是受该类经变画表现形式的限制,其思想仍在阐释主尊造像的性格,并非是用来表现反吐蕃的洞窟绘画历史题材.

Study on the Reason Why the Mural of Raudraksas Did not Draw in Tibetan Caves in Dunhuang Grottoes

The traditional ideas to most of authors was that it was the theme of combat Tibetan murals of Raudraksas drew in Dunhuang caves after the epoch of Middle Tang(Tibetan age),and so those murals reflected the people's gratification to the victory of the war against Tubo.But the author of this paper does not think like this,his view to the reason of murals of Raudraksas suddenly comes out in caves during the Later Tang,Five Dynasties and Song Dynasty,after Northerzhou and Early Tang,but not in Middle Tang cave...