Abstract The creation of the “images of traveling Buddhist monks on pilgrimage for sutras with tame tigers” preserved in the Mogao Grottoes resulted from a syncretic cultural and religious development in the Tang and Song dynasties. It was not drawn on the events of the pilgrimage of Xuanzang 玄奘, as is generally believed in academic circles. The intrinsic principles contained within the images transcend their external features: the development of Esoteric Buddhism and the phenomenon of traveling monks in the periods and their fusion with Central Plains folk culture imbued the images with the influence of both exoteric and esoteric schools of Buddhism, together with folk beliefs; on the other hand, the creation of the “images of traveling Buddhist monks on pilgrimage for sutras with tame tigers” reflected “Ratnasambhava tathāgata beliefs,” which were prevalent in the Dunhuang region in the Tang and Song dynasties. Via metaphorical presentations of iconized monks, these images provided the expression of multiple religious beliefs.

中文翻译：

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敦煌莫高窟石窟游佛教和尚形象的起源与表现。

摘要莫高窟保存的“朝拜虎与僧侣朝拜的僧侣形象”的创作，源于唐宋时期文化和宗教的融合发展。它没有像学术界普遍认为的那样，是根据玄z玄奘朝圣的事件得出的。这些图像中包含的内在原则超越了它们的外部特征：佛教的发展和那个时期的出家僧侣现象，以及它们与中原民间文化的融合，使图像受到了佛教的深奥和深奥的影响。有民间信仰；另一方面，“旅行的和尚朝着与驯服的老虎进行佛经的图像”的创建反映了“ Ratnasambhavatathāgata信仰，在唐宋时期的敦煌地区盛行。通过对偶像僧侣的隐喻展示，这些图像提供了多种宗教信仰的表达。