松石、龙水和祈雨法术:论唐代“白画”兴起的宗教背景

Pine and Stone,Dragon and Rain,and Spell of Praying for Rain:On Religious Background of the Rise of "white painting" in the Tang Dynasty

本文研究了唐代"白画"的兴起及变迁的史实问题。首先从文献常载的佛寺"松石""白画"出发,考证其与"龙水""白画"之间的文化互通,认为其与唐代天宝年间密宗兴起后的"像龙祈雨"法术有内在关联,而"白画"之不设色亦与祈雨黑色有关。同时,作为"白画"创作者的吴道子传派,及其他"白画"画家均与佛教,尤其是密宗有千丝万缕的联系。本文修正了对"白画"乃至水墨画兴起原因的惯常认知,从文献实证出发作了新的结论。

From several aspects,this paper studies the questions of historical facts about the rise and changes of the 'white painting' in the Tang Dynasty.First of all,it starts from the 'white painting' of 'pine and stone' in Buddhist temples often recorded in documents,does textual research on the cultural interflow between it and the 'white painting' of 'dragon and rain',and finds internal connection between it and the spell of 'praying for rain to dragon' after the Esoteric Buddhism rose in Tianbao Period in the Tang Dynasty.No color in 'white painting' is also associated with the black color for praying for rain.At the same time,as the creator of 'white painting',Wu Daozi school and other painters of 'white painting' all inextricably linked to Buddhism,especially Esoteric Buddhism.This paper corrects the usual recognition about the rise of 'white painting' and even ink painting,and makes a new conclusion with documentary proves.