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佛經文本與藝術遺存所呈現的古代文化交流 - 以月光王本生為例=On the Ancient Cultural Exchanges Evidenced by Buddhist Texts and Artistic Remains - Taking the Candraprabha-Jātaka as an Example |
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張文玲 (著)=Chang, Wen-ling (au.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.1 (總號=n.173) |
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| Date | 2019 |
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| Pages | 7 - 19 |
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| Publisher | 敦煌研究編輯部 |
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| Publisher Url |
http://www.dha.ac.cn/
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| Location | 蘭州, 中國 [Lanzhou, China] |
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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：臺北故宮博物院 |
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| Keyword | 月光王本生=Candraprabha Jātaka; 貴霜=Kushan; 犍陀羅=Gandhara; 藝術遺存=art remains; 莫高窟=Mogao Grottoes; 東西文化交流=cultural exchanges between the East and the West |
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| Abstract | 流傳至今的佛經故事,數量眾多,但並非大多數的佛經故事都還留存與之相關的多種語文佛經文本和藝術遺存,月光王本生是少數中的一例。對流傳至今與月光王本生相關的佛經文本與藝術遺存的研究表明:1.月光王本生文本應出現於貴霜王朝時期,而最早的月光王本生內容,很可能出現在由根本說一切有部約在公元200—350年間所完成的《天譬喻》中;2.雖然大約完成於公元200—350年間的《天譬喻》文本已不存,但其內容應可從目前所存2—3世紀的犍陀羅浮雕以及現存月光王本生中年代最早(公元251年)的《六度集經》卷1的內容得其梗概;3.根本說一切有部所傳月光王一切施的思想、犍陀羅地區所創造出來的圖像造型(揮刀欲砍的婆羅門、屈身甘心舍頭的月光王)以及克孜爾壁畫中跪捧七寶頭的大月大臣,都見於敦煌莫高窟第275窟的月光王本生壁畫,從中可以看出古代佛教世界中的東西文化交流。
The stories of Buddhist scriptures that have been passed down to the present are numerous, but few of these Buddhist sutras retain the multi-linguistic scriptural texts and artistic relics originally associated with them. The Candraprabha-Jātaka is one of the few exceptions. A study on the Buddhist scriptures and artistic relics relevant to the Candraprabha-Jātaka has led to the following conclusions: I. The creation of auxiliary texts about the Candraprabha-Jātaka likely occurred in the period of the Kushan Dynasty, and the earliest content of Candraprabha-Jātaka appeared in the Divyāvadana, which was compiled by the Sarvāstivāda school between200-350 CE; II. Although the text of Divyāvadana no longer exists, its content can still be found in the remains of 2 nd-3 rd century Gandhara reliefs, and the earliest Chinese version of the Candraprabha-Jātaka can be found summarized in the text of Liudu Ji Jing which was translated in 251 CE; III. The idea of giving away everything embodied by the king of Candraprabha was passed down into Buddhist tradition by the Sarvāstivāda school; the iconography created in the Gandhara region, depicting a Brahmin raising his sword and the king of Candraprabha bowing his head in acceptance of his fate, and murals in Kizil, which paint the minister of Mahācandra holding the "seven-treasure heads," are all present in Cave 275 at the Mogao Grottoes in Dunhuang. According to the testimony of these artistic remains, cultural exchanges between the East and the West were not only topics available for depiction but even maturely represented themes in the ancient Buddhist world. |
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| Table of contents | 一 月光王本生各種語文文本的分析比對 8
(一) 現存月光王本生各種語文文本 8
1. 梵文、藏譯、和闐文文本 8
2. 漢譯佛典 9
(二) 月光王本生的文本分析 10
1. 第一期經典:《六度集經》《菩薩本緣經》 10
2. 第二期經典: 10
3. 第三期經典: 11
二 試探月光王本生故事的創始年代、地域及所屬教派 12
(一) 月光王本生文本的產生年代應在貴霜王朝時期 12
(二) 有關月光王本生故事的產生地區 13
(三) 法顯與玄奘的遊記記載 13
三 月光王本生的藝術遺存與現存文本的比對 14
(一) 早已佚失的初期梵本《天譬喻》中的月光王本生的內容, 從2—3世紀的犍陀羅浮雕與《六度集經》卷1所述月光王本生的內容, 應該可以約略得其梗概: 15
(二) 新疆地區的月光王本生圖像, 除了承襲自犍陀羅地區所創造出來的圖像外, 也新創了自己特有的構圖與造型: 15
(三) 敦煌莫高窟第275窟月光王本生壁畫的構圖與造型分析 17
總結 月光王本生所呈現的古代文化交流 17 |
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| ISSN | 10004106 (P) |
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| Hits | 538 |
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| Created date | 2020.11.04 |
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| Modified date | 2020.11.04 |
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