元代泉州印度教龛状石刻纹饰辨析

A Differentiation and Analysis of the Stone Carvings with Hindu Niches in Quanzhou of the Yuan Dynasty

元代泉州印度教石刻是中国在本土发现的唯一一批印度教寺遗存,有重要的历史意义,其中,五方龛状石刻图案组成复杂、精美且独特,主题图像目前都已解读清楚,配饰虽分量不小,但因图像罕见、费解,至今仍未得到完全辨析。随着研究的不断深入,近些年石刻图像已逐步解密。通过对五方龛状石刻的配饰作抽丝剥茧的分析,可以发现古代中印双方的多种文化图样集合在小小石刻中:装饰神像的是屋形龛,屋式主体构造采用印度神庙的营造法式;屋顶有中式建筑的脊饰,包括吻兽和正脊中央脊饰;吻兽是龙头与卷草纹搭配形成的龙吻;脊中央的脊饰采用印度神庙的“金刚首”,但腹部装饰了中国的传统云纹图;柱子用中印都常见的莲瓣纹和忍冬纹装饰;屋形龛的两旁雕刻有藏传佛教的过门塔。如此,印度教、佛教、道教,以及喇嘛教元素的有机搭合,创作出独一无二的新图案。图案细节所代表的文化背景也渐次显现,从而传递出大量的信息,展现了在多元文化并存的时代背景下,汉文化、草原文化和印度文化的碰撞与交融。

The Hindu stone carvings in Quanzhou of the Yuan Dynasty are the only Hindu temple relics found in China, which have important historical significance. In recent years, with the continuous deepening of research, the stone carvings have been gradually understood. Among them, the five pieces of niche-shaped stones have complex, exquisite and unique carving patterns, and the main theme patterns on them have been clearly interpreted. Although the secondary ornaments also take up not a small part, they have not been well understood because of their rarity and incomprehensibility. The author has made a careful analysis of these secondary patterns on the five niche-shaped carved stones, and found that the various cultural patterns of both ancient China and India were used in these stone carvings: the house-shaped niches are used to decorate the statues, of which the main structure adopts the construction method of Indian temples;the roof ridges have Chinese-style ornaments, including Wenshou(zoomorphic ornaments) and ornamentation in the middle of the ridge;the zoomorphic ornament is dragon formed by the combination of a dragon head and curly grass pattern;the decoration in the middle of the ridge is the “Vajramastaka” of Indian temples, and its abdomen is also decorated with the traditional Chinese cloud pattern;the columns are decorated with lotus petal patterns and honeysuckle patterns common in both China and India;Lamaist pagodas of Tibetan Buddhism are carved on both sides of the house-shaped niches. In such way, the organic combination of elements of Hinduism, Buddhism, Taoism, and Lamaism created a unique new pattern. The cultural background represented by the details of the patterns is also gradually emerging, which conveys a lot of information and shows the collision and integration of Chinese culture, nomadic culture and Indian culture in the era of multi-cultural coexistence.