东亚佛足迹的样式、图像结构与风格问题

Research on the Pattern,Image Structure and Style of East Asian Buddha’s Footprints

东亚有一类佛足迹图像的内部有多种图案花纹,分别以石块、雕版、纸本、石碑等材质作为媒材被传承与传播。20世纪以来,中、日学术界围绕着它们附属的铭文或题记,相继得出了不同的观点,有的学者认为是玄奘将这种图像带回中国,有的学者则认为是王玄策将其带回中国后又传入了日本。但这种由人名界定图像样式的分类标准,并不能涵盖目前发现的多数佛足迹图像。结合前辈对佛足迹在印度的分期、分区成果,本文从佛足迹图像内容的演变历史和图像性质出发,将佛足迹分为三种风格,最终得出佛足迹样式与玄奘、王玄策这类知名人物的关系,是一种中古时期普遍的“图文书写传统”这一结论。三种风格分为:第一,中古时期中日佛足迹风格与玄奘、王玄策都有关,这一时期两人名下的图像本身并无差别;第二,宋代至明清时期的中国与韩国佛足迹以雕版重绘,风格只与“玄奘”有关;第三,日本17~19世纪的佛足迹产生了四种次生风格,体现出区域风格的发展规律。

There is a kind of Buddha’s footprints image with complex patterns inside in East Asia.The images are inherited and spread with stones,engravings,paper,stone tablets,or other materials as the media.Since the 20th century,the Chinese and Japanese academic circles have come to different views according to their attached inscriptions.Some scholars believe that Xuanzang brought this image back to China,and some scholars believe that it was Wang Xuance who brought it back to China.After being brought back to China,it was introduced to Japan.However,this classification standard of image style defined by the human name cannot cover most Buddha’s footprints images found at present.Combining with the predecessors’achievements in the staging and zoning of Buddha’s footprints in India,this paper starts from the content evolution history and the nature of Buddha’s footprints images,and divides the Buddha’s footprints into three styles.Finally,this paper explains that the relationship between the pattern of Buddha’s footprints and famous figures such as Xuanzang and Wang Xuance is only a common“graphic writing tradition”in the medieval period.The three styles are divided into:first,the Buddha’s footprints style of Chinese and Japanese in the medieval period is related to Xuanzang and Wang Xuance,and there is no difference in the images under their names in this period;Second,the Buddha’s footprints of Chinese and Korean from the Song Dynasty to the Ming and Qing Dynasties were redrawn by engraving,and the style is only related to Xuanzang;Third,the Buddha’s footprints in Japan from the 17th to the 19th centuries produced four secondary styles,which can reflect the development law of regional style.