A Study of Returning Benevolence sutra tableau in the Dunhuang

• Main Authors: CHIEN, PEI-CHI, 簡佩琦
• Other Authors: PAN, LIANG-WEN
• Format: Others
• Language: zh-TW
• Published: 2004
• Online Access: http://ndltd.ncl.edu.tw/handle/08462640710611882722

碩士 === 臺南藝術學院 === 藝術史與藝術評論研究所 === 92 === In researching the Returning Benevolence sutra tableau in the Dunhuang, I employ Panofsky’s methodology in studying iconography. In other words, I discuss the Returning Benevolence sutra tableau in three aspects: format, content and meaning. First, I list all basic compositions of Returning Benevolence sutra tableau, put all existing Returning Benevolence sutra tableau into categories, and propose the formats of Returning Benevolence sutra tableau basic composition. Then I outline the peripheral stories and identify the main themes. After clarifying and categorizing the basic composition and peripheral stories, it reveals a development in accordance with time. The variation of formats and iconography sprouted in the High Tang, multi-faceted during the Middle Tang, converging in the Late Tang (especially Cave 85), uniformed in the Five Dynasties, and degenerated in the Sung dynasty. My research stems from this part. Second, I clarify and identify some wall paintings that might be the Returning Benevolence sutra tableau. I started with those that are recorded in the caves descriptions of Dunhuang where the Returning Benevolence sutra tableau and the Sutra of the Wise and the Foolish exist inside the niches on the west walls. After I traced the line drawings and recorded the inscriptions, I suspect that these are all Returning Benevolence sutra tableau. When comparing the iconography of the Prince Nice goes to the Ocean and the jataka tale of Shu-che-ti.with the bad friend and filial of the Returning Benevolence sutra tableau, it reveals that they are independent. Then, I study the cave program where the Returning Benevolence sutra tableau is a part of. I start with the other sutra tableau on the same wall and the opposite walls. Furthermore, I use the above-formulated pattern to conjecture some weathered parts in some caves where the Returning Benevolence sutra tableau is a part of the cave program. Moreover, I try to connect those caves with similar cave program containing the Returning Benevolence sutra tableau and infer the sponsoring family relationship among the caves. Lastly, I compare the sutra tableau with 2 other texts, Da-fang-bien fo bao-en jing (T 3: 124-166) and a bien-wen, tale of the Two Benevolence. All the episodes of the Returning Benevolence sutra tableau are part of the sutra. On the other hand, the sutra tableau and the inscriptions exactly represent the bien-wen. It seems that the sutra tableau based on the bien-wen rather than the sutra, which contradicts the prior consensus that sutra tableau base on sutras.