一像六式：黑水城文献中的西夏毗沙门天图像及样式分类

本文聚焦于黑水城出土、现藏俄罗斯埃尔米塔什博物馆的8幅西夏时期毗沙门天图像。毗沙门天图像在流传的过程中产生6种样式，显示了西夏佛教沟通汉地、藏地和西域的多元化面貌。西夏艺术家和佛教僧侣吸收了于阗、吐蕃和汉地毗沙门天图像的特征，并进行了再创造，创造了两种全新的毗沙门图像样式。有的样式借鉴了龟兹或波罗艺术的晕染法；有的构图源于西域，背景却有宋代山水画的特征；有的受到藏地风格影响。本文也给出了这6种样式的流布演进次序和大概地域传播情况。从黑水城文献中的西夏毗沙门图像展现了西夏艺术作品的强大的开放性与包容性，是中华民族多元一体格局的有力证明，也是多元文化互动融合的生动范例。

This article examines eight Western Xia (Tangut) depictions of Vaiśravaṇa excavated at Khara-Khoto and now preserved in the State Hermitage Museum in St Petersburg. As the iconography of Vaiśravaṇa circulated and developed, it gave rise to six distinct types, revealing the multicultural character of Western Xia Buddhism and its connections with Chinese, Tibetan, and Central Asian Buddhist traditions. Western Xia artists and Buddhist monks selectively adopted features from Khotanese, Tibetan, and Chinese representations of Vaiśravaṇa and creatively reworked them, producing two entirely new iconographic types. Some types employ shading and color-gradation techniques associated with Kucha or Pāla art; in others, the compositional scheme derives from Central Asian prototypes, while the landscape background displays features of Song-dynasty landscape painting; still others show strong Tibetan stylistic influence. This article further reconstructs the relative sequence of the transmission and stylistic evolution of these six types and outlines their probable geographical routes of dissemination. Taken together, the Vaiśravaṇa images in the Khara-Khoto corpus demonstrate the remarkable openness and inclusivity of Western Xia art. They provide important visual evidence for understanding the historical formation of the pluralistic unity of the Chinese nation and offer a vivid case study of intercultural interaction, adaptation, and synthesis.