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論張議潮功德窟的塔窟組合=On the Combination of Pagoda and Grotto in the Cave Constructed in Honor of Zhang Yichao |
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| 著者 |
許絹惠 (著)=Hsu, Chuan-hui (au.)
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| 掲載誌 |
敦煌學=Studies on Tun-huang
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| 巻号 | n.34 |
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| 出版年月日 | 2018.08 |
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| ページ | 101 - 130 |
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| 出版者 | 南華大學敦煌學研究中心 |
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| 出版サイト |
https://nhdh.nhu.edu.tw/Web/Index
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| 出版地 | 嘉義縣, 臺灣 [Chia-i hsien, Taiwan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| ノート | 作者單位：銘傳大學應用中國文學系博士
Doctor of the Department of Applied Chinese, Ming Chuan University. |
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| キーワード | 敦煌=Dunhuang; 156 窟=Cave 156; 張議潮=Zhang Yichao; 塔窟組合=Pagoda and Grotto Combination |
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| 抄録 | 莫高窟第 156 窟為歸義軍節度使張議潮之功德窟，而張氏歸義軍乃接續於吐蕃政權之後，自亦承襲了吐蕃所帶來的影響。莫高窟 156 窟、161 窟及其窟頂上土塔這一組合，可追溯其形式即是源自於吐蕃的塔窟組合，且尚有使其成為修法儀軌的壇場之意圖。將上述 156 窟等所組成的二窟一塔的「寺」，視之為一個壇場，則 156 窟前室為外壇，由外壇進入，啟請繪於前室的四天王結界護法，經過甬道時受到繪於甬道的窟主張議潮所迎接，主室西龕乃為內壇，而龕頂及與其連結的 161 窟，即為內壇的法要，而窟頂土塔則是該法要的最終境地。從圖像、空間而論，行者透過窟內密法修持的指示，以甬道頂八臂觀音曼荼羅、西壁龕頂千手千眼觀音曼荼羅為連結點，連結至上層 161 窟，再由繪滿密教觀音圖像的第161 窟，延伸至具有眾多觀音圖像的土塔，如此一來便在二窟一塔的寺院中，構成了觀音密法的修行儀軌。
The Mogao Cave 156 is constructed in honor of Zhang Yichao, the military commissioner of the Guiyi Circuit. Since the Guiyi Circuit led by Zhang started governing the Tibetan regime, it adopted the influence brought by the Tibetans. The layout of Mogao Cave 156 and 161, as well as the combination of a pagoda on top of these caves, are originated from the Tibetan pagoda-grotto combination. The cave was not only influenced by the pagoda-grotto combination in the Tibetan tradition, but it was also deliberately made to serve as a mandala of Buddhism practices and rituals. Cave 156 and some others make up to two caves and one pagoda, forming the “temple,” which is viewed as one mandala; the front chamber of cave 156 is the outer altar. When entering the outer altar, one will see the images of the Four Heavenly Kings; when walking along the aisle, one will be welcomed by the images of the cave owner, Zhang Yichao. The west niche of the main chamber is the inner altar. The top of the niche, connected with cave 161, is the Dharma essence of the inner altar, while the pagoda on top of the cave is the final state of the Dharma essence. As seen from the images and spaces, a visitor will be instructed by the Esoteric Buddhism practitioner inside the cave, using the Cundi mandala on the aisle ceiling and the Thousand-Arms Guanyin mandala at the top of the niche on the west wall as connection points to connect to the upper floors of Cave 161. From Cave 161, which is filled with drawn images of Bodhisattva, it extends to the pagoda filled with many images of Bodhisattva. It is in this way that the practices and rituals of Esoteric Buddhism unfolded, within a temple space comprised of two caves and pagoda. |
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| 目次 | 一、前言 104
二、張議潮功德窟開窟背景與石窟內容 105
（一）開窟的時空背景 105
（二）前室四天王的功能 109
（三）甬道供養人與曼荼羅 111
三、石窟內經變的對應關係 112
（一）主室南北壁經變的組合 113
（二）西壁龕與 161 窟的呼應 116
四、塔窟組合與壇場的轉換 121
（一）吐蕃塔窟的垂直組合 122
（二）塔窟組合與 PT.993《僧院圖》 124
（三）塔窟作為壇場的概念 126
五、結語 127
主要參考文獻 129
一、傳統文獻 129
二、近人論著 129
三、電子資料 130 |
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| ISSN | 10159339 (P) |
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| ヒット数 | 206 |
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| 作成日 | 2021.05.04 |
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| 更新日期 | 2021.05.04 |
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