File:Vaiśravaṇa, Southern Cliff Niche 65.png
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[edit]DescriptionVaiśravaṇa, Southern Cliff Niche 65.png |
English: Vaiśravaṇa, Southern Cliff Buddhist Sculptures Niche 65, Bazhong, Sichuan; 877 AD. Niche size: 192 × 120 × 48 cm. "At the Southern Cliff, the representation of Vaiśravaṇa occurs several times. Sometimes the image is represented individually, sometimes as part of a larger group. The Heavenly Guardian of the North in Niche 65, dated 877 is a short and stocky figure, aesthetically not impressive. In this type, however, one can observe the blend of caricature and humour so frequent in Sichuan sculpture. The text of the inscription specifies that it was carved to bring good luck to the donor and keep calamities away from him. His bulging 'evil eyes' are perhaps meant to work this magic. They stare out both in terror and surprise, achieving an unparalleled effect of humour." – Howard, Angela Falco (1988). "Tang Buddhist Sculpture of Sichuan: Unknown and Forgotten" in Bulletin of the Museum of Far Eastern Antiquities, Stockholm (No. 60).
中文(繁體):巴中南龕第65號龕為毘沙門天王像,呈站立姿態,所著甲飾與邛崍石筍山第28 、33號窟造像大體相同,左手上擧托塔,右手按長劍,足下踏三夜叉,雕刻時間為公元877年。益州較多毘沙門天王像考古實物遺存的年代是在唐宋時期。唐代益州劍南西川以今成都為中心,在唐代中、後期的政治、經濟、文化和軍事格局上都具有擧足輕重的地位,同時也是佛教文化的重要據點,與敦煌和長安佛教之間均保持密切聯繫。考古調查資料顯示,這個區域毘沙門天王崇拜十分流行,在石窟寺美術、石刻造像和佛寺繪畫作品中都保存有大量線索。唐代劍南益州成都地區發現的毘沙門天王像,在風格特點上一方面繼承了敦煌佛教美術中所創造的毘沙門天王像的基本元素和藝術形式,而另一方面在造型藝術上也發展到一個新的階段。綜觀益州地區的毘沙門天王像,從形像上來看更加趨於一致:均大多呈站立姿勢,頭上戴有兜鍪,身上穿著的鎧甲式樣上身為兩當甲,下身為細密的魚鱗甲,護腿及膝,腰繫長劍,手中托塔者出現較多,似已成為一種定式。腳下多踏踩小鬼(或稱夜叉),有踏踩兩個夜叉者,也有踏踩三個夜叉者 。從兩腿間生出半身地乳小像者雖然也有出現,但顯然已是一種早期式樣的遺緖,不再是主流式樣。其中四川大學博物館所藏的邛崍龍興寺唐代毘沙門天王單體造像腳下未踏踩三夜叉,只有升起半身的地乳小像,應是與于闐王國和敦煌早期式樣最為接近的例證,可見其從于闐、敦煌一路傳播到益州的明顯痕跡。益州毘沙門天王像在唐宋時期的盛行,筆者認為恐與兩大因素直接有關,其一,是唐代中後期唐與吐蕃帝國、南詔國的衝突日益激烈,吐蕃軍隊多次侵擾唐代劍南西川邊境,並直接威脅到益州成都府的安全。唐王朝為了鞏固其西南邊防,多次調遣軍隊與吐蕃在今四川西北一帶形成對峙局面。唐德宗貞元十七年(801), 唐將韋皋在維州大破吐蕃兵十六萬,拔城七、軍鎭五;次年吐蕃內大相兼東境五道節度使兵馬群牧大使論莽熱率屬部十萬來解維州之圍,唐朝聯合南詔聯軍大破吐蕃,生擒論莽熱,可見其時緊張局勢之一斑。所以,有學者推測,唐代四川石窟造像中出現較多為毘沙門天王單獨的造像,其供養者的身份不少應為唐代京師或關洛一帶前來劍南西川鎭守的官員,這應當是說得通的。到了宋代,四川仍然處在與蒙古軍隊長期對峙的戰爭狀態下,並一度聯合西夏王國攻擊金國。唐以來對毘沙門天王所具有的國家守護神性質的崇拜信仰,並未隨時代的變化而有所減退,時人仍然在境內各地石窟造像中流行造奉毘沙門天王像,與中國其他地區佛教石窟寺題材有不同的特點。其二,四川地區唐宋以來密教的盛行,也是毘沙門天王像長期流行的原因之一。這一歷史淵源或可追溯到于闐。張廣達、榮新江先生已經注意到,于闐王國包括毘沙門天王像在內的所謂「于闐瑞像」的流行,與于闐正從流行大乘向流行密宗或金剛乘過渡有關。這個時期無論是《大方等大集經》,還是《金光明經》《無垢光問經》都收錄了大量咒語陀羅尼,意在向佛教信眾提供具有超凡的攘災祛禍的保證,因而毘沙門天王信仰也是印度教諸神融入到金剛乘萬神殿之中的典型例證之一,成為金剛乘明王系統當中最具影響力的一員。這樣,隨著金剛乘在于闐王國的流行,毘沙門天王像也成為藏文《于闐教法史》中守護李域(于闐)聖教之不衰的「八大依住護法神」之一。四川的密教與西域敦煌、唐代京師長安的密教之間聯繫緊密,不僅在唐代石窟造像題材中出現大量密教造像,宋代以大足石刻為中心,更形成被稱為「川密」的柳本尊系統的密教造像體系,而毘沙門天王像在這一體系當中同樣成為重要的角色。益州四川地區出現的毘沙門天王像,主要還是繼承了自「于闐式樣」發展變化而來的「敦煌式樣」,同時也在一定程度上受到「吐蕃式樣」的影響,但並非完全接受吐蕃式樣。——霍巍〈從于闐到益州:唐宋時期毘沙門天王圖像的流變〉,原文載於《中國藏學》2016年第1期(總第122期)。 |
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