大理国密教佛王信仰与禅宗传持的密化——关于《梵像卷》“南无释迦佛会”祖师图序意蕴的再议

The Buddharāja Tradition in Dali Kingdom and Esoteric Preaching of Zen:A New Recognition about the Implication for the Order of Masters’ Images of Chan sect in Fanxiangjuan

《梵像卷》第23~57页“南无释迦佛会”图绘有十六罗汉、释迦牟尼佛和祖师图序像。在释迦佛的右下方绘有供养人南诏国主“摩诃罗嵯”隆舜。同时,隆舜亦出现在了禅宗祖师图序中。隆舜前承云南禅宗第四祖法光和尚,后接密僧赞陀崛多和沙门□□,以此共同形成十六祖师像,与释迦佛左侧十六罗汉相对称。本文通过对隆舜的图序安排及其图像特征的探讨,首先指出过去常探讨的佛王信仰,其本质就是瑜伽密教中“佛我一体”的观想法门和“无二平等”的修法思想;同时结合晚唐五代时的一本水陆经忏仪轨中的禅宗传法世系,进一步指出这样的图序安排并非如学界之前所述,密僧赞陀崛多和沙门□□与禅宗系统无关—如此安排只是为了经营画面,与十六罗汉相呼应。实际上,隆舜、赞陀崛多和沙门□□是整个祖师图序中不可分割的一部分,反映了晚唐五代至宋时,禅宗密化、禅密合流的“圆融”的信仰姿态,也折射出大理国与中原汉地有着相同的文化脉动。

The Picture of Gathering for preaching Dharma by Sakyamuni in pages 23-57 of Fanxiangjuan that consists of images of 16 arhats, Sakyamuni seated in a holy lotus and 16 Masters’ images of Zen. And the patron’s image in the picture, the twelfth King of Nanzhao-Longshun(called as Mahārāja), was drew at the lower right corner of Sakyamuni. Meanwhile, Longshun was also depicted in the order of Masters’ images at the right side of Sakyamuni. He was recognized as the fifth Master of Chan sect in Yunnan. Longshun faces to Monk Faguang who was the fourth Master in Yunnan,and followed by images of Zantuojueduo who was regarded as a Tantra Yoga Master and Sramana□□, so that constitutes images of 16 Masters, which can be corresponding to images of 16 arhats at the left side of Sakyamuni. By the discussion on the arrangement for the order of Longshun’s image and the image’s feature, this paper points out firstly that the Buddharāja Tradition discussed frequently in past, essentially, was a way for meditation that is Integration between Buddha(Divinity) and Ego in Tantra Yoga, the core of the meditation is a kind of thought of equality without distinction;and by means of combining with a Buddhist repentance ritual text jingangjunjing sihsierzhong tanfa under the background of the prevalence on the faith of Buddhism repentance in Song Dynasty, this paper demonstrates further that images of Longshun, Zantuojueduo and Sramana□□ were painted as an indispensable parts of the whole order of Masters’ images that reflected the tendency of esoteric preaching of Zen and the thought of blending Zen and Tantra in the period of Late Tang and Song Dynasty, instead of it mistakenly suggested in past that Zantuojueduo and Sramana□□ had nothing to do with Masters of Chan sect, and the arrangement on the order of images was just only for the necessary of picture layout. It also shows that there were the same spiritual cultures between ethnic regime at the border area of southwest China and central China.