西藏的胎藏界曼荼罗传统及其彩砂曼荼罗制作

The Tradition of the Garbha-mandala in Tibet and Its Sand Mandala Creation

"两界曼荼罗"于9世纪初自唐传入日本,不仅构建了日本佛教造像的核心体系,并对整个日本文化产生了深远影响。在这两类曼荼罗中,与"金刚界曼荼罗"相关的遗存较为丰富,其原型出自印度,尼泊尔及西藏继承了的印度的曼荼罗传统,并有大量文献记录和绘画保存至今。然而,留存下来的"胎藏界曼荼罗"相关文献却非常少,其原因在于基于《大日经》的密教体系在古印度很早就已衰亡。此外,《大日经》在吐蕃时期自印度传入西藏,迄今仍有一些胎藏界曼荼罗的实例得以留存,尽管这类遗存极为稀少。此前,本人曾于2001年在日本京都日本文化国际研究中心举行的一次国际学术讨论会,及2003年于牛津举行的第10届国际藏学会上,就西藏的胎藏界曼荼罗传统及相关遗存发表过演讲。但当时限于交通条件,我未能亲自考察位于安多的拉加寺、夏琼寺,这两座寺院至今仍几乎每年都要制作胎藏界曼荼罗的彩砂坛城;尽管1994-1996年间当我担任富山市瑜伽禅修博物馆的首席讲师时,藉馆内复原藏传佛教两界曼荼罗之机,就已经获得了一些源自拉卜楞寺、拉加寺的胎藏界曼荼罗资料。近年来,由于安多地区交通大为改善,使我这样的国外学者得以至上述寺院实地考察。本文主要在笔者于2014、2015年田野考察的基础上完成,拟通过对安多寺院中胎藏界曼荼罗彩砂坛城的制作进行初步介绍,并与唐密—东密传统的胎藏界曼荼罗相比较,进而概括总结其特点。

The Ryōkai ■(两界曼荼罗) that were transmitted to Japan from Tang China at the beginning of the ninth century not only constituted the core of Buddhist icons in Japan, but they also had an influence on the entire culture of Japan as well. Of the two ■, sources related to the Vajradhātu(金刚界) ■ are relatively abundant as its original form in India and documentary records and drawings in Nepal and China’s Tibet, where the ■ were inherited, have been preserved. However, as far as the Garbha( 胎藏) ■ is concerned, there is very little documentation left today as esoteric Buddhism based on the Vairocanābhisambodhisūtra(大日经) waned in India quite early. Still, it is known that the Vairocanābhisambodhisūtra was transmitted from India to Tibet during the Tufan(吐蕃) era, and although they are very rare, there are still examples of the Garbha ■ in Tibet.In this paper, I will attempt to shed light on the creation of sand ■ of the Garbha Mandala in Amdo, making comparisons with the Sino-Japanese tradition of the Garbha Mandala and outlining their characteristics, mainly on the basis of fieldwork undertaken in 2014 and 2015 at Rwa rgya and Bya kyung monasteries.