斯坦因西域考古記(On Ancient Central Asian Tracks)

　

British Museum

10小時 · 

Archaeologist Sir Marc Aurel Stein died ‪#‎onthisday‬ in 1943. He explored sites on the Silk Road ow.ly/Df1hQ

During the thousand years of artistic activity at Mogao, the style of the wall paintings and sculptures changed, in part a reflection of the influences that reached it along the Silk Road. The early caves show greater Indian and Western influence, while during the Tang dynasty (AD 618-906) the influence of the latest Chinese painting styles of the imperial court is evident. During the tenth century, Dunhuang became more isolated and the organisation of a local painting academy led to mass production of paintings with a unique style.

The art also reflects the changes in religious belief and ritual at the pilgrim site. In the early caves,jataka stories were commonly depicted. During the Tang dynasty, Pure Land Buddhism became very popular. This promoted the Buddha Amitabha, who helped the believer achieve rebirth in his Western Paradise, where even sinners are permitted, sitting within closed lotus buds listening to the heavenly sounds and the sermon of the Buddha, thereby purifying themselves.

Various Paradise paintings decorate the walls of the cave temples of this period, each representing the realm of a different Buddha. Their Paradises were shown in sumptuous Chinese palace settings. Simplified versions of these buildings appear on banners depicting bodhisattvas showing donors on their way to Paradise.

Height: 80.500 cm
Width: 53.800 cm

Asia OA 1919,1-1,0.47

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The first Western expedition to reach Dunhuang, led by a Hungarian count, arrived in 1879. More than twenty years later one of its members, Lajos Lóczy, drew the attention of the Hungarian-born Marc Aurel Stein (1862-1943), by then a well-known British archaeologist and explorer, to the importance of the caves. Stein reached Dunhuang and Mogao in 1907 during his second expedition to Central Asia. By this time, he had heard rumours of the walled-in cave and its contents.

After delicate negotiations with Wang Yuanlu, Stein negotiated access to the cave. 'Heaped up in layers,' Stein wrote, 'but without any order, there appeared in the dim light of the priest's little lamp a solid mass of manuscript bundles rising to a height of nearly ten feet.... Not in the driest soil could relics of a ruined site have so completely escaped injury as they had here in a carefully selected rock chamber, where, hidden behind a brick wall, .... these masses of manuscripts had lain undisturbed for centuries.'
(M. Aurel Stein, Ruins of Desert Cathay (1912; reprint, New York, Dover, 1987).

The abbot eventually sold Stein seven thousand complete manuscripts and six thousand fragments, as well as several cases loaded with paintings, embroideries and other artefacts; the money was used to fund restoration work at the caves.

The manuscripts are now in the British Library and the paintings have been divided between the National Museum in New Delhi and the British Museum, where over three hundred paintings on silk, hemp and paper are kept.

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• The 'Caves of the Thousand Buddhas'
   
• Marc Aurel Stein
• The Buddhist Paintings
   
• Paradise of Amitabha, ink and colours on silk
   
• Paradise of Bhaishajyaguru, ink and colours on silk
   
• Paradise of Shakyamuni, with illustrations of episodes from the Baoen Sutra, ink and colours on silk
   
• Paradise of Maitreya, ink and colours on silk
   
• Bodhisattva as Guide of Souls, ink and colours on a silk banner
   
• Sutras
   
• Illustrations to the Sutra of the Ten Kings, a painting on paper roll
   
• Illustration to the Vimalakirtinirdesha Sutra, ink and colours on silk
   
• Illustration to the Fumu enzhong jing, ink and colours on silk
   
• Paradise of Shakyamuni, with illustrations of episodes from the Baoen Sutra, ink and colours on silk
   
• Travelling monk, ink and colours on paper
   
• Monk seated in meditation, ink and colours on paper
   
• Kshitigarbha, ink and colours on a silk banner
   
• Patrons
   
• Kshitigarbha as Lord of the Six Ways, ink and colours on silk
   
• Avalokiteshvara as Guide of Souls, ink and colours on silk
   

印刷惡劣 翻譯也有瑕疵 (譬如 "貧窮"翻譯成"可憐"......)

斯坦因西域考古記
北京:中華 1935/36/台北:中華 1988 台四版

【作　者】：（英）奧里爾·斯坦因 著，向達 譯

【叢編項】：西域探險考察大系

【裝幀項】：平裝 大32開 / 326

【出版項】：新疆人民出版社 / 2010-4-1

英國探險家奧利爾·斯坦因和他在中國西部的考古探險活動，有較大的爭議。他是尼雅遺址的發現者，也是敦煌藏經洞劫經的始作俑者，這是無法回避的事實。但是，只要涉及新疆探險史，對斯坦因和他在中國西部的考古探險則不能避而不談。

【本書目錄】
出版說明
新疆考古發現與西域文明
中國邊疆研究60年與西域探險考察
斯坦因與新疆探險史(代序)
著者序
譯者贅言
第一章　亞洲腹部的鳥瞰
第二章 中國之經營中亞以及各種文明的接觸
第三章　越興都庫什以至帕米爾同昆侖山
第四章　在沙漠廢址中的第一次發掘

第五章　尼雅廢址所發現的東西 (多談 佉(ㄑㄩ)盧文(Kharoti，)，又名犍陀羅文

第六章　尼雅廢址之再訪和安得悅的遺物
第七章　磨朗的遺址
第八章　古樓蘭的探險
第九章　循古道橫渡干涸了的羅布泊
第十章　古代邊境線的發現
第十一章　沿著古代中國長城發現的東西
第十二章　千佛洞石窟寺
第十三章　密室中的發現
第十四章　千佛洞所得之佛教畫
第十五章　南山山脈中的探險
第十六章　從額濟納河到天山
第十七章　吐魯番遺跡的考察
第十八章　從庫魯克塔格山到疏勒
第十九章　從疏勒到阿爾楚爾帕米爾
第二十章　沿媯水上游紀行
第二十一章　從洛山到撒馬爾罕
附錄
　一、斯坦因第三次中亞考古略記
　二、斯坦因黑水考古紀略
　三、俄國科茲洛夫探險隊外蒙古考古發現紀略
　四、19世紀后半期西域探險略表
編譯說明

: On Ancient Central Asian Tracks by Aurel Stein

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On Ancient Central Asian Tracks [Paperback]

Aurel Stein (Author)