Study On Turpan Avalokite(?)vara Paintings Of Qo(?)o Uighur Period

Dominated by Chinese Buddhism,Qoro Uighur Buddhism was developed on the basis of Xizhou Buddhism in Tang dynasty.With the introduction of Tibetan Buddhism in the Mongol-Yuan period,the pattern of the harmony of Han Tibetan Buddhism was formed.From the Turpan murals and unearthed Uighur Buddhist scriptures,we can see that Saddharma-pundrika belief,Avatamsa belief,Amitabha belief and Maitreya belief are popular,and thereinto,Avalokite(?)vara religion is mainly prosperous.Therefore,based on the research of the analysis of the content of image interpretation and the style of Turpan Avalokite(?)vara paintings,this research is expected to reveal the belief features of Qo(?)o Uighur and Avalokite(?)vara religions and their interactions with the local surrounding areas.The first chapter briefly describes the rise and fall of the Qo(?)o Uighur Buddhist and artistic relics,and the features about Avalokite(?)vara paintings of Turpan in this period is divided into three phases,five kinds of combinations and two systems.From the perspective of painting style,Avalokite(?)vara paintings can be divided into three periods:(1)From middle 9th Century to 10th Century,the Avalokite(?)vara image in this period was similar to that of Dunhuang,and the imitation marks were obvious.(2)From 11th to 12th Century,following some certain statue rules,the painting style had been formed,which was solemn and has a high artistic standard.(3)From 13th to 14th century,the Avalokite(?)vara in this period had some fine quality,but on the whole it had been on the decline.Avalokite(?)vara paintings in the caves are represented by avalokitesvara sutra arts.Combined with other frescoes,five combinations are described respectively:the single avalokitesvara sutra art,the combination of Avalokite(?)vara sutra art and Buddhapurvacarya sutra art,the combination of Avalokite(?)vara sutra art and Sarnath preach,the combination of Avalokite(?)vara sutra art and Pure Land sutra art,and the combination of Avalokite(?)vara,Manjusri and Samantabhadra.All of them belong to Pure Land and Avatamsa belief systems..In the second chapter,it centers around two Sahasrabhuja-sahasranetra sutra art sites at Cave 14,Cave 21 in Bezeklik,and researches Sahasrabhuja-sahasranetra's painting tradition and its religious thought during the Qo(?)o Uighur period.In both Sahasrabhuja-sahasranetra sutra art sites,the paintings of Avalokiteshvara is decorated with lotus-shaped petals,which is different from the circular ornamental motifs ofDunhuang.There are six Bodhisattvas on both sides of the Avalokite(?)vara,together with the main images to form seven-Avalokite(?)vara combination.It reflects the Uighur people's unique aesthetic taste and belief tradition and it is different from that of Dunhuang.Amitabha sutra art is sculpted on the front wall,and on the side walls of the 14th and 41st cave are sculpted Sahasrabhuja sahasranetra sutra art.The combination of these two kinds of Sutra illustrations fully presents the present world rescue and the thought of afterlife in the future under the Pure Land belief system.In addition,the Amitabha greeting of Amitabha sutra art in the 41 cave's front wall,reflects the spread of the popular Pure Land the future life ideology in Central Plains and Hexi in Song Dynasty in Qo(?)o.In the third chapter,based on the paintings at cave 39 in Bezeklik,this research discusses the ideological background of Mahasattva,Manjusri and Samantabhadra and Avatamsa ideas and the interrelationships with the local surrounding areas.In this cave,the Avalokite(?)vara painting is just in the middle of the wall,being the main part with Manjusri and Samantabhadra at two sides.Skyamuni Buddha statue,ten great Bodhisattvas and four great Heavenly Kings at two sides together constitute a grand Speaking,listening and guarding dharma statement.When the worshippers worshiped three Mahasattvas,they seemed to be within the majestic Avatamsathe assembly of the saints.The three Mahasattvas of the cave 39 are all presented in the form of sutra art.Each of them has family members as their assistants.These paintings styles of some of the family members are very similar to the image styles of Dunhuang and Khara Khoto.This reflects the inherited relationship between the three places in the tradition of painting.In addition,the first appearance of the Nanda kumara at the new Manjusri reflects the cultural exchange between Turpan in Qo(?)o Uighur and Pancasikha(Wutai Shan).The fourth chapter discusses Cintamanicakra Avalokite(?)vara sutra art at cave 40 in Bezeklik.Compared with Cintamanicakra Avalokite(?)vara sutra art in Dunhuang Grottoes,it is richer in content and material.For example,ten grest Therajas,Sakyamuni and Amitabha's combination are new here.These new themes highlights the Buddhist cultural exchange between inner land of Song dynasty and Qo(?)o Uighurand.Obviously Buddhist scriptures and Buddhist practice in the inner land of Song dynasty provide fresh blood for the development of Qo(?)o Uighur Buddhism.From the perspective of religious practice,the change in the mountains and the like meditation practitioner,embodied by visualizing monkeys and other animal to take heart apes,can recite the best round of Tuo Ronnie mantra,in the heart of the visualization,visualization and the like deity Cintamanicakra Avalokite(?)vara Bodhisattva,and feel the good wishes of the germinal.From the style of painting,the sutra art mixes the Central Plains together with Kucha,and it embodies the diversification of the Buddhist art of Turpan period in Qo(?)o Uighur.The fifth chapter focuses on Avalokite(?)vara-guna-karanda-vyuha sutra art at cave 17 in Bezeklik.The sutra art is painted based on Avalokite(?)vara-guna-karanda-vyuha Sutra translated by Indian monk Devasanta.From which,we know the Buddhist scriptures translation in inner land of Song dynasty is the source of Qo(?)o Uighur Buddism.At the same time,the sutra art as a new creation of Sutra paintings reflects the diverse and rich connotation in Qo(?)o Uighur Buddism belief,but we could not find it in other parts of the country.Scholars generally consider the period of cave 17 to be Xizhou in Tang Dynasty.However,Avalokite(?)vara-guna-karanda-vyuha sutra art corrected this error for the first time.Judging from Uigher donor,the painting period is between around 1037 when The Tripitaka of Kaibao were introduced in Gaochang and the beginning of 13 th century when Uighur knelt to Mongolia.The sixth chapter firstly analyzes the content of the murals and the mixture style of the Tibetan and Chinese from the sutra art of the six-worddharani of Avalokite(?)vara at the cave 29 in Bezeklik.Secondly,this paper discusses the image style of the six-worddharanl of Avalokite(?)vara sutra art,that is,the six-worddharani of Avalokite(?)vara located in the middle,and the six Avalokite(?)varas on both sides together constitute the combination of the Seven Avalokite(?)varas.Such combinations are common in Turpan Grottoes and textile paintings,and it can also reflect the prosperity of the Seven Avalokite(?)varas faith during the Qo(?)o Uighur period.Finally,from the perspective of Guanyin belief,the study analyzes the religious thoughts contained in this cave,and points out that the founders who funded the cave was more inclined to Maitreya Pure Land after death because he chose to put Maitreya right in the middle of the wall and Amitabhaon at the side wall.