北朝隋代维摩诘经图像的表现形式与表述思想分析

On Presentation and Subject of Illustrated Vimalakirti-nirdesha-Sutra of The Northern and Sui Dynasties

在北朝隋代佛教物质文化空前繁荣的背景下,维摩诘经图像获得巨大发展并呈现一体化态势。本文基于学界披露资料和实地调查资料,采用考古类型学与美术史图像学结合的方法,分析了维摩诘经图像的表现形式与表述思想相互关联的两个基本问题。首先,作者兼顾维摩诘经图像的配置和意图,类分为佛说维摩诘经表现、维摩文殊主体性表现、装饰性表现和特殊表现四种形式,用以说明该图像的时空发展脉络。其后,作者关注了维摩诘经图像各种表现与其他图像的组合关系,划分为与释迦佛关联图像、与法华经关联图像、与净土信仰图像、与两种布施本生图像四种组合,以期揭示其图像表述思想的演化状况。本文总体认为,由宣扬大乘、强调菩萨行到表述净土思想,形成北朝隋代维摩诘经图像发展的主旋律。

With the unparalleled material and cultural prosperity of Buddhism throughout the Northern and Sui Dynasties the illustrated Vimalakirti-nirdesha-sutra got much developed towards a trend of integration. Combining archaeological typology, iconographic research methods and published data together this thesis demonstrates the iconographic context changes of theillustrated Vimalakiti-nirdesha-sutra which are put into four categories by composition and subject, comprising: 1) Buddha’s preaching of Vimalakirti, 2) Vimalakirti and Manjusri prominently featured in the scene, 3) Vimalakirti and Manjusri are less prominent in the scene, and 4) Vimalakirti and Manjusri displayed in other styles. It also studies the thematic evolution focusing on the integrated illustrations of Vimalakirti-nirdesha-sutra with Shakyamuni Buddha, Vimalakirti- nirdesha-sutra with Saddharmapundarika-sutra, Vimalakirti-nirdesha-sutra with the Pure Land faith, or Vimalakirti-nirdesha-sutra with the Jataka stories about almsgiving, generally concluding that illustrated Vimalakiti-nirdesha-sutra over the Northern and Sui Dynasties were thematically transforming from preaching the Mahayana and stressing Bodhisattva practices to worshipping the Pure Land.