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思惟菩薩造像在魏晉南北朝流行演化之因緣探討=The evolutional causes of the images of Contemplative Bodhisattvas in the Great Division Period of China |
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| Author |
王立文 (著)=Wang, Lin-wen (au.)
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簡婉 (著)=Chien, Wan (au.)
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| Source |
佛學與科學=Buddhism and Science
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| Volume | v.5 n.1 |
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| Date | 2004.01.15 |
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| Pages | 24 - 31 |
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| Publisher | 圓覺文教基金會 |
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| Publisher Url |
http://www.obf.org.tw
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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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| Keyword | 思惟菩薩=Contemplative Bodhisattvas; 犍陀羅=Ghandhara; 漢化=sinicize; 十二因緣=twelve dependent originations |
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| Abstract | 半跏思惟菩薩以一手托腮、一手撫腿、頭略低垂的姿勢來表示思惟，稱為「思惟相」；而一足垂下，一足屈盤其上，表現人物的輕閒悠然、灑脫自在的坐姿，則稱為「半跏坐」，兩者結合起來稱為「半跏思惟」。半跏思惟像源自於西元二至三世紀時印度西北的犍陀羅，興盛於中國南北朝時期，為中國佛教藝術中重要的造像內容之一，主要代表意涵為悉達多太子或彌勒菩薩。半跏思惟像在中國發展的進程，從早期樣式化的生硬造型，一方面接受外來形式的影響，一方面又融入民族的傳統理念，開始佛像民族化的進程。到北魏中晚期，佛像已完全漢化、南朝化，面容肢體等細節處理更加圓順，身材更為修長結實，且著日常生活的漢式褒衣搏帶，衣裙褶紋重疊繁富，極富韻律及裝飾意味，更具中國風貌。東、西魏以後，佛像朝獨立自主的風格發展，因此對立體佛像的各部細節均能予以全面的關注與照應，更能表現出軀體結實的美感與肌膚彈性的潤澤，衣紋線條趨向簡潔明暢。北齊與北周的造像，延續前期風格，再加以創新，尤其北齊的思惟像雕刻，幾乎達到空前完美的境界。面容五官更為細緻玲瓏，身軀圓健，比例勻稱，衣紋疏簡概括，具有抽象式的圖案表現。這一時期在造像題材的廣度和對造像表現個性的深度上，都較之前代有著較大的突破。從佛教的觀點來看，佛教藝術不過是宣傳佛教的「無數方便」法門之一，目的是要人們了悟生死並且體知宇宙生命的真理。然而，任何藝術家，包括佛教藝術的創造者，都生活在一定時代社會條件下並受著時代社會生活的影響和制約。他們的藝術作品，包括佛教藝術作品的創造，都必須從「器世間」，從人們周圍的現實中攝取內容。佛教藝術作為一種藝術，一種像教的工具，必須把「神變成人」，因此，要完全迴避世俗的生活是不可能的1。因此佛教藝術造像之一的思惟像亦不免受到當時社會思潮的影響而在造形上展開了無限意韻的世俗風情，從雲岡時期以帝王的威儀為摩本，龍門時期以南朝士大夫的飄逸風度為風格，東魏以後以一般人物為寫實反映，都述說著思惟菩薩在中國的演化中，深受世俗觀念的影響，其目的主要是為了迎合世人的需求。本文是以佛法之十二因緣來探討思惟菩薩造像何以能在古代中國流行演化，文中申述三個群體，一是當時的藝匠們，另外則是貴族王室（含寺廟住持）及社會民眾（含士大夫），考慮這三個群體的心靈與物質生活彼此之間的互動，不難窺其演化的因緣。
The Contemplative Bodhisattvas is characterized by resting the right elbow vertically on the right knee, with two extended fingers of the right hand touching the right cheek, the left hand putting on the right ankle, and the right leg crosses over the pendent left leg. Such an image, known as “the pose of the thinker,” belongs to the Ghandhara style of the Kusana period (1st–3rd century). This image, mainly denoting Siddhartha or Maitreya, prevailed in the Great Division Period of China (5th–6th century) and had become one of the significant Buddhist imageries in China. Stylistically, this image has undergone constant changes in China, beginning with a formative phase mainly relying on the stylistic influence from India. Not until the middle and late phases of the Northern Wei are the images sinicized. Details of heads and arms are rounder than those from the early phase of Northern Wei Dynasty, while the loose-fitting robe assumes a life of its own—the cascade-like pattern of drapery folds forms a rhythmic pattern of great elegance. In the Eastern and Western Wei Dynasties, the images develops a new style in which every aspect of the figures is carefully treated as to reveal the beauty of the torso and the luster of the skin, while the drapery folds become simplified and lighter. The images from the Northern Qi Dynasty and Northern Zhou Dynasty are characterized by an unprecedented perfection—the facial expressions being subtler,the torso more mellifluous and their drapery lines more succinct and abstract.From the view point of Buddhism, Buddhist arts is simply one vehicle of numerous convenient methods for promoting Buddhism, aiming at making people aware of the birth and death of cosmic life.However, all artists, including the creators of Buddhist arts, were inspired by their social life and
circumstance. So, none of their artworks were not created with materials selected from the worldly life and from the surrounding reality. It is impossible to shun the secular life in the creation of Buddhist arts. As
one of the Buddhist images, the Contemplative Bodhisattvas also reflected the social life of that time through various styles in forms, from those at Yun-gang Cave on the model of the empires in Northern Wei Dynasty, to those in manners of the Southern-Dynasty officials and scholars, as to those imitating
ordinary people in Eastern Wei Dynasty. All of those demonstrate that the evolution of the images of Contemplative Bodhisattva in China had been under deep influence of worldly concepts with a view to cater for the need of people. Based on twelve dependent originations in Dharma, this paper attempts to explore how Contemplative Bodhisattva images prevailed and developed in ancient China by presenting three groups as artisans, empires and ranking officials as well as civilians, and discussing the interaction of mind and physical life of which so as to comprehend the cause of the evolution of this image. |
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| ISSN | 16072952 (P) |
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| Hits | 2268 |
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| Created date | 2005.05.03 |
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| Modified date | 2017.07.21 |
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