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唐末五代至宋元之際的維摩圖像探討=An Exploration of Vimalakīrti Imagery during the Late Tang, Five Dynasties, Song, and Yuan Periods |
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| Author |
陳清香 (著)=Chen, Ching-hsiang (au.)
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| Source |
佛光學報=Fo Guang Journal of Buddhist Studies
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| Volume | n.1 新6卷 |
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| Date | 2020.01 |
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| Pages | 35 - 72 |
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| Publisher | 佛光大學佛教研究中心 |
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| Publisher Url |
https://cbs.fgu.edu.tw/
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| Location | 宜蘭縣, 臺灣 [I-lan hsien, 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 | 作者為中國文化大學史學系兼任教授 |
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| Keyword | 維摩圖像=Vimalakīrti imagery; 宋代維摩像=Song dynasty Vimalakīrti imagery; 李公麟畫維摩=Li Gonglin’s Vimalakīrti painting; 大足維摩圖=Dazu Vimalakīrti imagery; 雲南維摩圖=Yunnan Vimalakīrti imagery |
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| Abstract | 佛教誕生於印度，依佛教經典而創作的圖像亦大部分源於印度，但其中有少數是入華後，中土人士依經文內容而創作的，維摩詰經變相便是其中之一。早期東晉顧愷之創作了帶有病容的維摩居士像，其後隨著時代的演進，由示疾容顏、名士形影演成氣勢昂揚的大辯士，再演為文質彬彬的儒生。在圖像人物組合上，亦由單身的維摩演成與文殊對應的場景，再演成四周加上自國王以下各階級人物聽眾的壯闊場面。有關唐代以前的前期維摩圖像遺作，筆者早先已有撰文討論，本文前段僅作簡單引述，本文中後段焦點注於宋代以後的維摩圖像，列舉現存著名博物館藏品數幅維摩圖像，加以分析之，後段並舉位於西南的西蜀與大理等地線刻與雕像創作之維摩居士圖像為例，以見自九世紀至十三世紀之間，分佈於華北、江南，與西蜀、雲南等地的維摩圖像，從而追溯其歷史傳承與時代地域的特色。
Buddhism emerged from India, and most of the imagery based on Buddhist scriptures has its origins in India. However, in a few cases, the imagery was created in China by Chinese artists on the basis of content in Buddhist scriptures. One such case is the imagery of Vimalakīrti. In the early Eastern Jin dynasty, Gu Kaizhi created an image of Vimalakīrti manifesting illness. Over subsequent periods, Vimalakīrti went from being a noble man appearing to be ill, to a powerful and eloquent debater, and then finally becoming a Confucian scholar with a refined appearance. In terms of the figures included, early images portrayed only Vimalakīrti, and then Vimalakīrti having a dialogue with Mañjuśrī, and finally the scenes portrayed Vimalakīrti surrounded by a large audience including kings as well as people from every other social class. In the present article, the first section summarizes the author's previous work on Vimalakīrti imagery prior to the late Tang. The second section focuses on Vimalakīrti imagery from the Song and Yuan dynasties. Several extant images held at various museums are presented as examples and analyzed. The final section discusses Vimalakīrti imagery comprised of carved line drawings and sculptures found in southwestern China, including areas such as Sichuan and Dali. In this way it is possible to see the historical developments and regional features in Vimalakīrti imagery from areas including the north, the lower Yangtze region, and the southwest, over a period covering the ninth to thirteenth centuries. |
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| Table of contents | 一、前言 38
二、兩晉至隋唐時代的維摩圖像 40
（一）畫史所載畫維摩的畫人 40
（二）現存唐以前石窟中的維摩圖像遺品 43
三、五代以下畫人筆下的維摩居士 45
四、宋元之際承襲李公麟之維摩居士畫作 49
（一）屬於維摩文殊群體組合的類型 49
1.現藏北京故宮博物院的「維摩演教圖」 49
2.王振鵬「臨馬雲卿畫維摩不二圖草本」 53
3.劉松年的畫作「天女獻花圖」 54
（二）表現單獨維摩居士像，或再添天女像者 56
1.京都國立博物館所藏「維摩詰像」 56
2.京都國立博物館所藏「維摩天女像」 56
3.臺北故宮博物院藏「宋人維摩圖」 57
五、西蜀大理的刻畫維摩圖像 58
（一）大足北山石窟陰刻文殊詣維摩詰問病圖 58
（二）大理國所造維摩詰寫經文附圖像 62
（三）張勝溫梵像圖中的維摩大士像 64
（四）雲南劍川石鍾山石窟維摩經變相 66
六、結論 68 |
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| ISSN | 24143006 (P) |
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| Hits | 232 |
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| Created date | 2020.04.20 |
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| Modified date | 2020.04.20 |
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