北朝維摩詰經圖像研究

Abstract

北朝時期現存一定數量的維摩詰經圖像，維摩詰和文殊菩薩呈對坐樣式，體現《維摩詰所說經．文殊師利問疾品》的情節。畫面中可以看見各類生活用器的表現，如三角背屏與葉形麈尾，這些圖像源自地緣關係接近的北方地區。至於榻後屏障、三足憑几、上圓下方形麈尾，以及維摩詰閒適姿態表現，則體現出孝文帝漢化政策下產生的文化交流，所帶來的南朝文化影響。 北朝的維摩詰經圖像，主要分布於河南、山西、陝西、甘肅四個地區，不同區域的作品間存在著影響關係。北魏時期，河南與山西地區的作品為相互影響之狀態，而山西地區的圖像元素在陝西地區的作品中亦有發現，至於甘肅地區的作品，出現簡單的畫面表現方式，則是源自陝西地區的作品影響。接著當時序進入東魏、西魏、北齊、北周時期，河南與山西地區的作品，它們的雙向影響關係並未持續，不過陝西與甘肅地區的作品，仍舊不間斷地獲得來自山西與陝西地區的作品影響。 觀察北朝維摩詰碑像，上面呈現的題材具備多元性質，維摩詰經變在各類題材之間，作為主體造像的實際比例很低，反映出維摩詰信仰只是眾多信仰內容的其中一支。此外，在與法華或本生故事題材的組合方面，維摩詰經圖像與多元題材圖像，都是造像中的附屬性題材，且雙方或為不同面的構組模式，又或是出現在不相鄰的位置上，由此可知這些主題彼此間並不具備連結性或從屬關係，因此無法將它們的意涵做進一步的連繫和解讀。

During the Northern Dynasties (439-581), representations of the Vimalakīrti Nirdeśa Sūtra with Vimalakirti and Mañjuśrī seated face to face refer to the scenario of The Consolation of Invalid. In these works, various articles of daily use are shown. The triangular-backrest and the leaf-shaped chu-wei are originated from the art of the Northern regions. Other articles appearing since early 6th century, such as folding screens, three-legged arm rest, the fan-shaped chu-wei, and Vimalakirti's leisurely posture reflect the influence of the Southern Dynasties (420-589) culture. It is the result of Sinicization policy of Emperor Xiaowen (r. 471-499) in the Northern Wei Dynasty. The representations of the Vimalakīrti Nirdeśa Sūtra from the Northern Dynasties are mainly distributed in four regions: Henan, Shanxi, Shaanxi, and Gansu, and there are influences between works from different regions. During the Northern Wei period (386-534), the works of Henan and Shanxi were in a state of mutual influence, while some characteristics of the works of Shanxi can be found in the works of Shaanxi, and the simple compositions of the works of Gansu are derived from the influence of the works of Shaanxi. The representation of the Vimalakīrti Nirdeśa Sūtra is rarely treated as the main subject of the Northern Dynasties steles. It frequently appears with other Buddhist themes, such as representation of the Lotus Sūtra, Jataka stories, life scenes of the Buddha, Śākyamuni, Maitreya, Avalokiteśvara, etc. This fact shows that the belief Vimalakīrti was one of the flourishing believes in the Northern Dynasties. The representation of the Vimalakīrti Nirdeśa Sūtra and those of the Lotus Sūtra and Jataka stories appear either on different sides of the steles or in disparate positions. This phenomenon demonstrates that these images are not connected or subordinate to each other, thus it is not possible to make further connections and interpretations of their religious meanings.