因緣說話圖에서 誓願圖로: 투루판 베제클리크 석굴의 <등불 공양 서원도>에 대한 一考 = From Avadana Painting to Pranidhi Scene: A Study of "Lamp Offering" Pranidhi Scenes in Bezeklik Caves in Turpan

다국어 초록 (Multilingual Abstract)

The painting referred to as "pranidhi scenes" represents the Uyghur art of Turpan during the Uyghur Rule (850-13th century) of the region. Although previous scholarship enabled us to enhance our understanding of this unique type of painting, much remains unsolved as to its designation, characteristics, and formation. As part of a series of study on the individual themes of the pra·nidhi scenes in Bezeklik Caves, which the author think will shed new light on this subject, this essay look into the examples that deals with the story of Sakyamuni in his former life as a princess offering a lamp to a past Buddha named Ratnasikhin. This theme is notable in that it shows a close link between the pranidhi scenes in Turpan and avadana paintings in the Kucha area.
The first part discusses the examples of "lamp offering" pranidhi scenes preserved in Caves 15, 20, 31, 33 of Bezeklik Caves site along with the inscription in Cave 20 and the variations of the relevant story found in Mulasarvastivadin Vinaya, Xianyujing (Sutra of the Wise and the Foolish), Ekottaragama Sutra.
The second part looks into the paintings of avadana preserved in Kizil and Kumtura Caves in Kucha that illustrate the story of lamp offering to Buddha. A particular attention is paid to the mural in Kumtura Cave 34, which shares similarity with both avadana painting and pranidhi scene. That is to say, this 7th century painting adopts the typical composition of the avadana painting, while the content of its inscription is close to the "lamp offering" pra·nidhi scene mentioning Sakyamuni in his former life as a princess making offering to Ratnas′ikhin.
This example clearly demonstrates that the avadana painting in Kucha was an important precursor of the pra·nidhi painting in Turpan.
The third part explores the shared tradition from which avadana paintings and pranidhi scenes were formed by examining the relevant texts. Of particular importance in this context is the Mulasarvastivada-vinaya Bhaisajyavastu, which is regarded as the key text in understanding the pranidhi scenes in Turpan as it contains gathas that are similar to the inscriptions found in the pra·nidhi paintings in Bezeklik Cave 20. It is significant to note that the narratives such as jataka and avadana form a large part in this vinaya text and that in this context it contains the same stories found in the collections of avadana such as Divyavadana and Xianyujing. While sharing stories with avadana painting, the pranidhi scene developed its visual language in a direction that is different from avadana painting; the worship of the past Buddhas became the main feature and the narrative quality of the story was significantly diminished.

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