唐代弟子像法服的横披式上衣——以佛教石窟造像及壁画为例

The Draped Uttarasanga on Statues of Buddha's Disciples from the Tang Dynasty——With the Statues and Murals of Buddhist Cave Temples for Reference

传统的佛衣与僧衣主要由三衣构成,即大衣、上衣、下衣,此外还常着僧祇支(唐称“掩腋衣”)。伴随北齐法上改革,佛像和弟子像都出现了新的法服披覆方式——内着僧祇支、上衣覆搭双肩、大衣右袒式披覆。这种披覆方式在甘肃、河南、四川等地的部分弟子像上还发生了一些变化,即出现了横披式上衣,炳灵寺石窟的唐代窟龛中尤其多见,又可依据是否覆搭右肩分为两种。相应地,在横披式上衣之内又着由掩腋衣和覆肩衣缝合而成的缝合式偏衫,与此基础上还出现了交领式偏衫。这种横披式的上衣和相应偏衫的出现,是三衣中的上衣在汉地僧衣中最后的形式,是天竺传统的三衣在传入中国后经历本土化过程中的重要一环。

Traditional Buddhist attire mainly consisted of three items,Samghati,Uttarasanga and Antarvasaka.Besides these,a robe that draped slantingly over the left shoulder called a Samkaksika,which later appeared during the Tang dynasty known as yanyeyi掩腋衣.According to changes made by Master Fashang at the time of the Northern Qi dynasty,new ways of donning Buddhist vestments also came to appear on the statues of the Buddha and his disciples around this time.Notable changes can be seen on statuary depicting Buddha's disciples in Gansu,Henan and Sichuan,and the additional style of draping Samghati horizontally became especially common in the Tang dynasty caves and niches of the Binglingsi Grottoes,which led to the appearance of a new kind of monk's robe in China called a pianshan偏衫that was sewn together from a Samkaksika and fujianyi覆肩衣and worn beneath Uttarasanga.This later evolved into a cross-collared pianshan that became characteristic of later Chinese attire.The emergence of Uttarasanga that were draped horizontally over the left shoulder and the development of pianshan was the final form of Uttarasanga ever to appear in Chinese Buddhist garments,and these changes in style mark an important step in the Sinicization of traditional Indian Buddhist dress in China.