虎头金粟影:维摩画像研究献疑

Queries on the Researches of Vimalakirti's Portrait

瓦官寺维摩画像是中国绘画史上的名作,代相咏传逾1600多年。然而,该像在唐亡后即绝迹于世,以致后人竞相揣度,却始终难得其详。该像是中古维摩变演绎的源头,图像意义极为重要,本文以对瓦官寺的考察为起点,结合20世纪中叶以来的相关考古成果、藏经洞维摩写卷、画史材料以及维摩变遗存,对维摩画像研究中的几种观点提出了异议。笔者认为,日本东福寺藏宋本《维摩图》、炳灵寺169窟北壁及龙门宾阳中洞东壁卧榻维摩,与瓦官寺维摩画像并无关联;而巩县石窟第1窟莲花座维摩、云冈石窟第6窟与第7窟胡装坐榻维摩、莫高窟隋代石窟殿堂维摩、晚唐五代石窟背凭隐几的维摩以及北京故宫博物院宋本《维摩演教图》、王振鹏《维摩不二图》、台北故宫博物院宋本《维摩图》、张胜温《梵像卷·维摩大士》等,与之亦无直接渊源。

The portrait of Vimalakirti in Waguan temple is ranked among the masterpieces in Chinese art history for over 1600 years.But what is pitiful is that it was lost after Tang dynasty ended,which led later generations to surmise it a lot but still there is a mystery left in mind.This portrait has been regarded as the origin for the images in Vimalakirti-nirdesha sutra in the middle age of ancient times.After making a textual study of Waguan temple,the related archaeological researches from the mid-20th century,the written scrolls about Vimalakirti from the vault for keeping Buddhist scriptures,materials on painting history as well as the remains regarding the story of Vimalakirti,the author formed his own different viewpoint from others that the portrait of Vimalakirti in Waguan temple has nothing to do with the Song-dynasty picture of Vimalakirti collected in Tofuku-Ji of Japan,or the portrait from No.169 cave of Bingling Monastery,or the statue from the central Binyang cave of the Longmen Grottoes.Besides,this portrait is not directly connected with other similar ones from No.1 cave of the Gongxian Grottoes,or from No.6 and No.7 caves of the Yungang Grottoes,or from the caves of Sui and late Tang dynasties and Five dynasties of the Mogao Grottoes or from the Illustration of Vimalakirti-nirdesha-sutra of the imperial palace,or from other sources either.