佛教造像背光之研究─以五世紀前漢譯佛典為主

Abstract

本文佛教造像背光之研究，以五世紀前漢譯佛典為主，以經典文獻之考據、解讀與分析為主軸，佛像背光圖像題材為輔，探尋其意涵與源流，呈現出古來繪師於「佛光相」內容所傳達之深意。研究進路如下：（1）歷史背景角度等文獻考據（2）背光相定義、意涵（3）以造像背光之主題、樣貌、題材等為線索，考據其相關譯典之源流與脈絡。首先，敘述印度佛教藝術造像起源，從佛塔到人間像佛像演變的過程、原因、影響、發展及造像依據；彙整三十二相譯典文獻，梳理其相異處與修證方法。進一步釐清放光相之特徵、意涵、種類、目的、光色，及「常光」與「放光」之間的差別與放光處等探討，循著問題脈絡，分析解讀，藉由考據佛典文獻，一一論述，掌握其全貌。 本文以五世紀前佛教造像遺品中雕塑式的佛像背光為範疇，從背光的形制、樣式、題材等方面研究。先以五世紀前之印度造像，探討犍陀羅與秣菟羅佛像背光的形制與特徵，並分別考證四天王奉缽、梵天帝釋二脇侍與觀音彌勒菩薩二脇侍等群像組合，以及三道寶梯、三十三天為母說法等題材，著眼於佛像背光樣貌與經文考證之關係，以釐清其發展脈絡與特色。再者，論述後期犍陀羅「焰肩佛」造像背光之特色。關於「過去七佛」的法身思想，闡明六波羅蜜意涵及其漢譯佛典源流。並以漢譯經典文獻為本，考據燄肩佛名稱的由來，及其淵源與流變。最後，梳理分析舍衛國神變、降伏毒龍度三迦葉、燃燈佛為儒童菩薩授記等背光主題，並追溯其漢譯佛典文獻之源。 此外，考據五世紀前中國佛像背光與特徵，以五胡十六國時期造像背光特色，考據世尊頭現高肉髻相、肩上火焰紋飾四道色光之意涵與沙門脇侍弟子之流變。接著，以北魏太和元年銅鎏金釋迦牟尼佛坐像的背光為例，分析「多寶佛」與「七佛」法身觀思想之關聯。論證法華「二佛並坐」思想的糅合轉化，及釋尊降生四龍吐水浴佛之漢譯佛典源流與演變脈絡及其依據。並且探討背光樣貌與當時的時代背景之間的關聯，更進一步釐清、闡釋佛像背光的特色、承襲風格與深層意涵，冀望從經典文獻中發掘出前人所未發現的史料，並且證明經典文獻與造像兩者間密切的相互關係，冀為佛教造像背光之研究提供確鑿可信的參考資料。

This study focuses on the backlighting of Buddhist statues based on the Chinese translated sutras before the fifith century. My study will mainly focus on the textual study, interpretation and analysis, meanwhile using the statue of the Buddha as an example, to explore the profound meaning conveyed by the "Buddha's Light". The research approach is as follows: (1) A philological study on its historical background (2) The definitions and meanings of the backlighting images (3) A research on the origins and contexts of the related Chinese texts, using the theme, appearance, and subject matter of the statue backlight as clues. First of all, this study explicates the origins of the Indian Buddhist art statues. I will explore the whole evolution of change from Buddhist pagodas to humanlike statues, including its procedure, reasons, influences and its prototype; I will then try to find out their differences and methods of practice based on the texts of the mahā-puruṣalakṣaṇa. Furthermore, I will clarify their characteristics, meanings, types, purposes, colors of light and also the differences between "permanent light" and "radiant light" and then the place where the light shines. Finally, following the contexts of the problem, I will, one by one, analyze, interpret, and discusses the Buddhist texts and hope to grasp the whole picture. This thesis uses the backlight of the sculptural Buddha statue in the relics of Buddhist statues before the fifth century as an example and studies the shape, style and subject matter of the backlight. Firstly, in regards to the Indian statues before the fifth century, we discuss the shape and characteristics of the backlight of the Buddha statues of Gandhāra Mathura and individually examine the group portraits such as the serving bowls of the Four Heavenly Kings, the group of the Brahma and Emperor Shakki, the group of Avalokiteśvara and Maitreya Bodhisattva and also the subject matters of Three Daobao Ladders and of Buddha teaching Dharma for his mother in the Heven of Trayastriṃśa. I will clarify the contexts of their developments and their characteristics by bridging the relationship between appearances of the backlit of the Buddha statues and the texts. Secondly, I will discuss the characteristics of the backlight of the later Gandhāra "Flaming-shouldered Buddha" statue. As regards to the concept of the Dharmakāya of the "seven Buddhas of the past", I will expound the meaning of the six paramitas and the origin of the Chinese Buddhist scriptures. Basing on the Chinese texts, I will examine how the Flame Shoulder Buddha has been named and when and why his statue was made and also the evolution of the statue. Finally, I will study and analyze other backlit themes, such as the Great Miracle at Sravasti, the story of subduing the poisonous dragon and three Kaśyapas, and Dīpaṅkara Buddha’s Prophecy for the Mānava Bodhisattva, and identify the possible sources of these stories in the Chinese Buddhist texts. I also explore the backlight and characteristics of the Chinese Buddha statues before the fifth century. On the basis of the characteristics of the backlight of the statues of the Five Hus and Sixteen Kingdoms period, I make a survey on the evolution of the changes of the image of the Buddha's head with a high buns, the flame pattern on his shoulders, the meaning of the four colored lights and the monk-attendant-disciples. I then use the backlight of the gilt-bronze seated statue of Sakyamuni Buddha in the first year of Taihe in the Northern Wei Dynasty as an example and analyze the possible connection between the "Treasure Buddha" and the concept of the Dharma body of the "Seven Buddhas". I try to demonstrate the fusion and transformation of the idea of "two Buddhas sitting side by side" in Lotus Sutra and also explain the origin and evolution of the Buddhist scriptures concerning Buddha's birth and four dragons spitting water to bathe Buddha in Chinese Buddhist texts. I also discuss the relationship between the appearance of the backlight and the historical background at that time in order to further clarify and explain the characteristics, inherited styles and deep meanings of the backlight of the Buddha statues, hoping to unearth from the classical literature historical materials that have not been found by predecessors, and prove the close relationship between classical literature and statue-making so as to provide a reliable and credible reference for the study of the backlight of Buddhist statues.