康熙《龍藏經》圖像的再解讀

Abstract

康熙八年《內府泥金寫本藏文龍藏經》內護經版的七百五十六幅圖像，很可能是現存傳世最早的佛經經板大型彩繪巨作。本文嘗試從歷史背景解讀康熙《龍藏經》的製作緣起，依照康熙《龍藏經》的形制和圖像主題判斷，認為很可能是後來清朝宮廷佛教造像的圖像來源。由於藏傳佛教尊神圖像多半是自成就法文獻的內容，圖像的正確名稱對佛教圖像研究具重要意義，本文嘗試從《本尊海成就法寶源》和《密續總集》內容，初步找出康熙《龍藏經》上、下經板圖像之間可能的十種壇城圖像脈絡，並透過文本的比對，釐清了康熙《龍藏經》中十二藥叉大將圖像與漢、藏文名稱的對應關係。

The Tibetan Buddhist Canon Kangxi Kangyur, completed in 1669, features 756 painted miniatures on its inner protective cover planks. These elaborated images seem to be the earliest set of Buddhist miniature paintings on a grand scale found so far. In this thesis, the author investigated the causes that may contribute to making the Kangxi Kangyur. Judging from the format and topics of Buddhist iconographies, the Kangxi Kangyur might be a significant referent source for later works of Buddhist paintings as well as statues in the Ching imperial court. Since most Tibetan Buddhist iconographies are made according to Buddhist sadhana texts, the author tried to find the correlations between the 756 painted miniatures by comparing two crucial sadhana collections: the yi dam rgya mtsho'i sgrub thabs rin chen 'byung gnas and rgyud sde kun btus. The preliminary result is the ten possible combinations of mandala deities and the corrections of Tibetan and Chinese names of the Twelve Yakṣa Generals images on the inner cover planks of the Kangxi Kangyur.