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台灣五股寶纈禪寺的佛教圖像初探=The Huayan Imagery in the Baoxie Temple, Wugu, Taipei |
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| 著者 |
黃韻如 (著)=Huang, Yun-Ju (au.)
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| 掲載誌 |
2021 第八屆漢傳佛教與聖嚴思想國際學術研討會
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| 出版年月日 | 2021.06.29 |
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| 出版者 | 財團法人聖嚴教育基金會 |
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| 出版サイト |
https://www.shengyen.org.tw/index.aspx?lang=cht
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| 出版地 | 臺北, 臺灣 [Taipei, Taiwan] |
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| 資料の種類 | 會議論文=Proceeding Article |
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| 言語 | 中文=Chinese |
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| キーワード | 華嚴圖像=Huayan Iconography; 泰安法師=Master Taian; 觀音華嚴三聖=Huayan Three Bodhisattvas; 七處九會=the Nine Assemblies Delivered in Seven Locations |
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| 抄録 | 位於五股觀音山下，面對著基隆河與淡水河交匯處的寶纈禪寺，由泰安法師（1910–1984）開山於1970 年。並於大殿後方興建普賢佛學院，延攬深入經藏的法師前來培養佛門龍相。寶纈禪寺是臺北早期著名的經懺道場，鼎盛時期平均一年可以做到8 個月的經懺法會。目前由於法師與信眾俱年事已高，法會漸少，但仍維持每年一整個月的八十華嚴法會，因為華嚴是他們主要的修行法門。
大殿供奉的是以觀音為主尊的華嚴三聖：主尊為觀音菩薩，左右各為文殊與普賢菩薩。中國自宋以降，各地散見些以觀音為主尊的華嚴三聖，諸如四川崇慶寺，山西藍田水陸庵，承德殊像寺等，但一直未蔚為風氣，並不多見。臺北寶藏巖寺亦有觀音華嚴三尊，但因該寺空間較小，除了尊像之外，並無其他圖像可資參考。雖說台灣的觀音信仰源自閩南沿海，反倒是閩南未見觀音三聖之造像。本文擬追溯寶纈禪寺裡的
各個尊像的源由，希冀構建出泰安法師當時建寺時對於該寺神聖空間的規劃。寶纈禪寺除了大殿的尊像之外，還有許多華嚴相關的圖像。但有別於一般常見具像的之七處九會圖，或者善財童子五十三參；是較為抽象，以蓮花表現的七處九會圖。除了華嚴相關的圖像，以及常見的彌勒佛像之外，還有立姿千佛像，以及四門出遊的佛傳故事，都是佛教東傳至中國初期，可見於敦煌最早開鑿於北涼的石窟。
經由訪談寺裡老菩薩得知，當時寺院的設計都是開山和尚親力親為。可見泰安法師並非只會做經懺法會的法師，也是佛法得力甚深的法師。這也是為何將近40 年來，這些老菩薩們堅持每年一個月中，風雨無阻，每天不辭勞苦，由臺北各地舟車勞頓趕來，不但坐滿大殿，在酷暑豔陽下，坐到到殿外。老菩薩們人人手拿著放大鏡，孜孜矻矻戰戰兢兢，法喜充滿的恭誦《華嚴經》。佛法利益眾生的法門繁多，泰安老和尚巧妙地在寺院裡各個角落的圖像，深入淺出的安排了許多層面的佛法，隨時可以因機逗教，真可謂用心良苦。
The Baoxie Temple by the junction of Keelung River and Tamsui River in New Taipei is founded by Master Taian in 1970. The Samantabhadra Buddhist Institute behind the temple is an educational facility mainly for monastics. Taian was famous for offering 8 months of repentance and sutra-chanting rituals annually on average for decades. Now that the monastics and frequent devotees are all getting older, the major annual festival is the month-long 80-scrolled Huayan Sutra recitation festival.
The deities in the main hall are the Huayan Three Bodhisattvas, Guanyin, Manjushri, and Samntabhadra, an ensemble not commonly seen. Nonetheless, since the Song Dynasty, the Huayan Three Bodhisattvas have been built in China sporadically. The Baozangyan Temple in Taipei also has a group of images in question. Even though Taiwanese belief in Guanyin came from the southern Fujian coastline, no source of Huayan Three Bodhisattvas images could be found in temples in Fujian to date. This paper is a rudimentary attempt to reconstruct how Master Tai’an designed and embodied the sacred space in Baoxie Temple.
Other than the Huayan Three Bodhisattvas in the main hall, there are other Huayan related imageries in the temple. Unlike the popular narrative representations of the Nine Assemblies delivered in seven different locations and Sudhāna’s pilgrimage elsewhere in the world, Taian presented the Huayan essence with seemingly decorative abstract lotus floral patterns on the floor. In addition to the Huayan images, Maitreya, Standing thousand-Buddhas, and Prince Siddhārtha encountered the “four sights”, ie, the human sufferings are shown in another hall. All these images are the mainstream representations found in one of the earliest Buddhist images made in China, Dunhuang Caves.
On my third visit to the temple, during the month-long Huayan-reciting festival, an octogenarian participant confirmed that Master Taian referred to those huge colorful lotus flowers as “the lotus flowers of the Nine Assemblies delivered in seven different locations in the Huayan Sutra”. Other than the legacy of efficacious rituals, the founding master of the Baoxie Temple carefully chosen and skillfully designed images to embody Buddhist thoughts and ideas to devotees and visitors alike.
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| ヒット数 | 853 |
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| 作成日 | 2022.06.14 |
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| 更新日期 | 2022.06.14 |
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