摘要
北宋以後,以禪宗教團爲中心,《出山釋迦圖》十分盛行,從現存作品中也可以確認,這個主題已成爲南宋禪宗畫的典型而固定下來。其中,活躍於南宋中期的宫廷畫家梁楷,其作品多爲院體畫風的著色佛畫,本文首先將針對畫作主題之出山釋迦予以再確認,並從本畫作與宫廷之間的關係等觀點,來嘗試將其重新定位。從佛傳中可知,釋迦在六年苦行後,因領悟到折磨肉體對於修行無益而出山。在印度的經典與佛傳當中有不少認爲苦行'無益'的記載,相對於此,在最早期的漢譯佛傳中,認爲苦行直接成就悟道,而此種看法影響了禪宗史書的觀點。現存作品中,包括南宋到元代之間所製作的泉涌寺本《十六羅漢圖》與波士頓美術館本《釋迦十六羅漢圖》,描繪了出山後釋迦説法的場景。三重縣西來寺本與兵庫縣大覺寺本《出山釋迦圖》中描繪的釋迦,可理解爲表現《修行本起經》中所記載釋迦悟道後'放眉間毫相光明'的情景。因此,可以説'出山釋迦'的圖樣中不僅描繪釋迦出山之後,也包含了成道後的樣貌。衆所周知,南宋禪宗具有國家宗教的屬性。從文獻與作品當中可以確認梁楷與禪宗教團有直接的交流。他的《出山釋迦圖》與馬遠的《禪宗祖師圖》(京都天龍寺藏),可以理解爲爲了宫廷所需,而由畫院畫家所描繪的禪宗畫題,拱手堂堂站立的釋迦,可以解釋爲爲了表現出重叠苦行釋迦並聯繫到成道後説法姿態的形象。不過,考慮畫風、落款與畫絹的狀態,本圖並非爲宫廷御用所作,不如視爲與宫廷有關的寺院委托梁楷所製作的作品。若是如此,作品傳入日本的時期,應該是在東山御物收藏成立的室町時代以前,是由禪僧所傳入的作品。
After the Northern Song Dynasty and in the circles of Chan(Zen in Japanese) Buddhism,'Shakyamuni emerging from the mountains' became a popular theme in painting. Judging from extant works, this theme was established as a paradigm in Southern Song Chan paintings. Among them, works by Liang Kai, a court painter active during the middle Southern Song Dynasty, were mainly polychromatic Buddhist paintings in the court style,though with a few exceptions. This paper first re-confirms this Shakyamuni theme, before re-defining it in terms of its relationship with the court.According to the tales from the Life of the Buddha that after six years of asceticism,Shakyamuni came to realize that self-imposed physical sufferings were not conducive to Buddhist Enlightenment and he thus left behind the wild mountains. On the other hand,Indian Buddhist classics and Life of Buddha contain many records that consider asceticism to be futile. Yet in contrast, the earliest Chinese translations of the Life of Buddha deem asceticism to be a direct path towards Enlightenment, a view that, in turn, influenced ideas within the historical writings of Chan Buddhism. Among extant paintings, the Sennyuji version of the Sixteen Arhats, made during the Southern Song Dynasty and the Yuan Dynasty, and Shakyamuni and Sixteen Arhatsin the Museum of Fine Arts, Boston, depict the scene of the Buddha preaching after he left the mountains. Moreover, the Buddha depicted in the two paintings of Shakyamuni Emerging from the Mountains, one in Seiraiji of the Mie prefecture and the other in Daikaku-ji of the Hyogo prefecture, may represent a scene of Shakyamuni right after his attainment of Enlightenment, as recorded in the Cāryanidāna. Therefore, one may conclude that the iconography of 'Shakyamuni emerging from the mountains' portrays not only the Buddha leaving the mountain, but also that of Enlightenment.It is well-known that the Chan Buddhism had the characteristic of state religion in Southern Song China. On the basis of Song documents and paintings, it is certain that Liang Kai was directly involved with Chan Buddhist circles of his time. His Shakyamuni Emerging from the Mountains and Ma Yuan’ s Portraits of Chan Patriarchs(in the collection of the Tenry u-jiin Kyoto) could be understood as Chan paintings that were made by academy painters upon the court’s demand. The standing Shakyamuni, who cupped one of his hands in the other before his chest, could be viewed as a representation of the ascetic Buddha superimposed by the figure of him in preaching right after he achieved Enlightenment. However, judging from the style, the signature, and the condition of the silk, the painting is considered not as one painted upon imperial demand, but as one commissioned to Liang Kai by temples associated with the court. If so, the time when it was transmitted to Japan should be dated to before the Muromachi period, which witnessed the establishment of the Higashiyama gyomotsu collection. It should have been a work brought there by some Chinese Chan or Japanese Zen monks.
作者
板倉聖哲
邱函妮
Itakura Masaaki;University of Tokyo
出处
《浙江大学艺术与考古研究》
2017年第1期358-394,22-23,共38页
Zhejiang University Journal of Art and Archaeology
关键词
梁楷
《出山釋迦圖》
南宋
Liang Kai
Shakyamuni Descending from the Mountain
Southern Song