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蘇軾與成都大慈寺的因緣=Connection Between Su Shi and The Daci Temple in Chengdu |
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黃惠菁 (著)=Huang Hui-Jing (au.)
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| Source |
夏荊山藝術論衡=Journal of Xia Jing Shan's Art
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| Volume | n.11 |
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| Date | 2021.03 |
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| Pages | 41 - 67 |
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| Publisher | 財團法人夏荊山文化藝術基金會 |
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| Publisher Url |
http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者單位：國立屏東大學中國語文學系副教授
Associate Professor, Department of Chinese Language and Literature, National Pingtung University |
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| Keyword | 蘇軾=Su Shi; 惟簡=Weijian; 寶月大師=Baoyue; 成都大慈寺=Chengdu Daci temple |
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| Abstract | 成都大慈寺又名大聖慈寺，是唐宋時期四川一帶最為著名的寺院之一。大慈寺不僅是成都著名的佛教寺院，同時還是士庶文化生活的中心，不論其建築，或寺內壁
畫、雕刻等，都是重要的文化資產，藝術價值極高，可謂成都藝文之重鎮。蘇軾為四川眉山人，與成都大慈寺因緣頗深，其最早結識的佛僧，即是成都大慈寺之惟簡（寶月）法師。蘇軾早年遊大慈寺，曾參觀大慈寺內所藏唐代畫家盧楞伽壁畫以及唐禧宗皇帝與從官文武七十五人畫像，留下題名。除上，蘇軾有名的畫評〈畫水記〉（一作〈書蒲永升畫後〉），即是由大慈寺壽寧院中孫知微畫水之作的評論展開。蘇軾與惟簡相識四十年，兩人互動頻頻，或為信仰，或為文藝。蘇軾曾應惟簡之請，為大慈寺別院作記，或代向朝廷請求紫衣師號，或曾出借《蘭亭》摹本，以利其摹刻於石，亦曾為先君施捨四板菩薩畫。紹聖年間，惟簡示寂，蘇軾更作〈塔銘〉以為紀念。由是顯見兩人情誼之深厚。本文即由大慈寺及寺中住持惟簡出發，梳理蘇軾與寺院之因緣，無論是藉記抒發己見，或施捨文物，抑是談文論藝，乃至生活關懷，大慈寺之於蘇軾一生，自有其重要意義。
The Daci Temple in Chengdu is also known as the “Temple of Infinite Compassion and Mercy.” It was one of the most renowned temples in the area of Sichuan, China during the Tang and Song dynasties. The Daci Temple is not only a renowned Buddhist temple in the city of Chengdu but also a hub of folk culture. Its architecture and the murals and carvings inside are all important cultural heritage of immense artistic value, making the temple Chengdu’s vital cultural base. Su Shi was born in Meishan, Sichuan province and held profound association with the temple. The first Buddhist monk that Su had come into contact with was Dharma Master Weijian (Baoyue) of the Daci Temple. Su had visited the temple in his earlier years, where he saw housed inside the temple murals by Tang artist Lu Leng-Jia and portraits of 75 people that included Emperor Xizong of Tang dynasty and civil and military officials. Su also left an inscription marking his visit. Furthermore, “Postscript to the Paintings of Pu Yung-Sheng” included in Su’s famous art critique, Journal on Painting Water, opened with a critique on Sun Zhi Wei’s painting of water inside the Daci Temple’s Shouning Hall (Hall of Serene Longevity). Su and Weijian kept in contact for over four decades and interacted frequently on issues of faith, culture, and art. Su was also invited by Weijian to write about the halls of the Daci Temple or to make a request at the imperial court on behalf of the temple for the bestowment of the prestigious purple robe and master title. A replica of the Orchid Pavilion was also lent out from Su for Weijian to make a stone-engraving replica. In memoriam of Su’s father, Su donated four bodhisattva portraits to Weijian. Weijian passed away in the Shaosheng era of the Northern Song dynasty (1094 to 1097). Su wrote a pagoda inscription in memory of the master, which conveyed the profound friendship between the two. This paper departs from the Daci Temple and its abbot, Weijian, examining the connection between Su Shi and the temple, including writings by Su where he expressed his thoughts and opinions, donations of artifacts he had made, Su’s art and cultural critiques, and also simply everyday cares and concerns that Su had expressed, which comes to show the important significance that the Daci Temple had on Su Shi’s life. |
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| Table of contents | 一、前言 43
二、蘇軾接觸佛教之背景 43
三、蜀地文化藝術之中心 47
四、蘇軾與大慈寺之因緣 50
（一）撰述寺院題記 51
（二）代求紫衣師號 55
（三）捨文物予寺院 56
（四）評賞寺院畫作 58
（五）應請著作塔銘 60
五、結語 63
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| ISSN | 24126233 (P) |
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| Hits | 229 |
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| Created date | 2021.04.08 |
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| Modified date | 2021.04.08 |
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