|
|
|
 |
|
|
|
|
|
|
從大王窟看曹議金護國壇場的意義－兼論四角天王為金光明經變的一種樣式=A Look at Cao Yijin's State Protection Awareness from the Cave of the Great King - Also on whether the four-cornered heavenly kings are a form of the Mural of the Golden Light Sūtra |
|
|
|
| Author |
許絹惠 (著)=Hsu, Chuan-hui (au.)
|
|---|
| Source |
敦煌學=Studies on Tun-Huang
|
|---|
| Volume | n.37 |
|---|
| Date | 2021.08.01 |
|---|
| Pages | 75 - 100 |
|---|
| Publisher | 南華大學敦煌學研究中心 |
|---|
| Publisher Url |
https://nhdh.nhu.edu.tw/Web/Index
|
|---|
| Location | 嘉義縣, 臺灣 [Chia-i hsien, Taiwan] |
|---|
| Content type | 期刊論文=Journal Article |
|---|
| Language | 中文=Chinese |
|---|
| Keyword | 曹議金=Cao Yijin; 大王窟=the Cave of the Great King; 護國壇場=the Mandala of State Protection; 四角天王=four-cornered heavenly kings; 金光明經變=mural of the Golden Light Sūtra |
|---|
| Abstract | 曹議金大王窟是曹氏歸義軍時期的石窟典範，其中四大天王繪於窟頂四角的設計開創先河，此後許多重要石窟其形式及經變配置，多仿自於大王窟。敦煌寫本P.3781是該窟在主體工程與窟頂壁畫完工時的願文，文中祈願四天王的護法摧魔，且以慈悲的力量救人護國。又寫本P.2058V（15）、（12）記載曹議金舉行了大隨求道場、大悲道場並轉誦《金光明經》（《金光明最勝王經》），意在祈求救人護國。這些祈願有可能直接影響石窟的經變配置及空間設計。如窟頂四披所繪的賢劫千佛，就是願文中所寫的千佛，是為拜懺的對象，此則呼應了《金光明經》的懺悔意旨。又如窟頂四角畫有四大天王是為護佑結壇，也是取義自《金光明最勝王經》〈四天王護國品〉護民護國的天王角色。《金光明經》是護國三經之一，雖然大王窟沒有繪製淨土樣式的金光明經變，但窟頂四角的四大天王其經義取自該經，也可視為金光明經變的樣式之一，從四王護壇啟建、窟頂所繪懺悔賢劫千佛，都是大王窟取自《金光明經》護國意識的表徵。
The Cave of Great King Cao Yijin presents a model created during the time of Cao's Guiyi Circuit. In particular, the design of the four heavenly kings painted on the four corners at the top of the cave established a precedent. Many subsequent caves that were significant exhibited imitations of the Cave of the Great King in their form and configuration of the sūtra mural. P.3781 is a prayer manuscript that was inscribed when the main structure of the cave and the mural on its ceiling were completed. The prayer was to the four heavenly kings, asking for their protection, to destroy demons, and also to save humankind and protect the state through their benevolence. Further, P.2058V (15) (12) recorded that Cao Yijin organized the Mahā-pratisāraḥ and great mercy penitential bodhimanda and chanted the Golden Light Sūtra (Suvarṇaprabhāsa Sūtra) to pray for world salvation and the protection of the state. These prayers naturally had a direct influence on the configuration of the sūtra mural and the spatial design of the cave. The thousand Buddhas of the Bhadrakalpa painted on the four slanting surfaces at the top of the cave are the thousand Buddhas referred to in the prayer manuscript as objects of repentance. Their images echo the intent of repentance denoted in the Golden Light Sūtra. The four heavenly kings painted on the four corners at the top of the cave were intended to guard the altar. They were also derived from the heavenly kings characters depicted in the Four Heavenly Kings Protecting the State in the Golden Light Sūtra. The Golden Light Sūtra is one of the three Sūtras for the protection of the country. Although there was no land-cleansing style mural of the Golden Light Sūtra painted in the Cave of the Great King, the meaning of the four heavenly kings painted on the four corners at the ceiling of the cave was inspired by the Sūtra and hence can be perceived as an mural style of the Golden Light Sūtra. Both the construction of the four altar-guarding kings and the images of the repenting thousand Buddhas of the Bhadrakalpa drawn on the ceiling of the cave reveal that the Cave of the Great King received the state protection awareness expressed in the Golden Light Sūtra. |
|---|
| Table of contents | 一、前言 78
二、大王窟的石窟內容與窟頂繪畫 80
三、窟頂千佛與佛名禮懺 82
四、窟頂天王與護國壇場 86
（一）天王繪製的空間變化 86
（二）護國壇場的禮懺實踐 88
五、護國壇場的經典依據 92
六、金光明經變的發展脈絡 94
七、小結 98
主要參考文獻 100 |
|---|
| ISSN | 10159339 (P) |
|---|
| Hits | 288 |
|---|
| Created date | 2022.04.15 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
|
|
