九至十三世紀中國西方淨土圖像與信仰之變

Abstract

在中國九至十三世紀期間，與西方淨土信仰相關的圖像創作主要可分為兩大類型：一為傳統圖像，代表作品包括初唐與盛唐時期已經出現的〈西方淨土變〉與〈觀經變〉；二為突破傳統的「新式」圖像，描繪阿彌陀佛或脇侍菩薩接引場景，例如晚唐（875–907）至五代（907–960）的〈引路菩薩圖〉，以及南宋（1127–1279）與西夏（1038–1227）的〈來迎圖〉。值得注意的是，這類新式圖像在九世紀以前尚未獨立出現。 本文旨在全面且宏觀地探討九至十三世紀期間西方淨土相關圖像的發展，分析其變遷原因及信仰背景，並探究傳統與新式圖像的功能與意涵。傳統圖像如〈西方淨土變〉與〈觀經變〉，以及新式圖像如〈引路菩薩圖〉與〈來迎圖〉，共同展現出淨土信仰在這一時期的顯著特徵，包括從唐代到宋代逐漸由群體救度轉向個人解脫的理念變遷，以及信仰的地域化與世俗化影響。研究範圍涵蓋敦煌、四川與黑水城三地的圖像分布，並補充日本所藏相關文物，以豐富研究資料。 此外，本文對九至十三世紀西方淨土圖像所反映的信仰修持儀式進行梳理，以深入理解淨土信仰在當時對圖像創作的具體影響。同時，透過系統性的圖像整理與文獻分析，本文重新審視該時期中國西方淨土圖像的發展脈絡及其所承載的信仰意涵，期望為後續學界研究提供全新視角。

During the 9th to 13th centuries in China, the creation of images related to the Western Pure Land faith can be categorized into two major types. The first is traditional imagery, represented by works such as the Western Pure Land (Xifang Jingtu Bian) and the Illustration of The Sutra on Contemplation of Amitāyus (Guan jing Bian), which had already appeared during the Early and High Tang periods. The second is “innovative” imagery that broke away from tradition, depicting Amitābha or attendant bodhisattvas guiding souls to rebirth, such as the Guiding (Yinlu) Bodhisattva Images (Yinlu Pusa Tu) from the Late Tang (875–907) to the Five Dynasties (907–960), and On the Way to the Pure Land of Amitābha Images (Laiying Tu) from the Southern Song (1127–1279) and the Great Xia (1038–1227) periods. Notably, such innovative imagery did not appear independently before the 9th century. This study aims to comprehensively and systematically examine the development of imagery related to the Western Pure Land during the 9th to 13th centuries. It analyzes its evolution and the religious contexts behind these changes while exploring the functions and implications of traditional and innovative images. Traditional imagery, such as the Transformation of the Western Pure Land (Xifang Jingtu Bian) and the Illustration of The Sutra on Contemplation of Amitāyus (Guan jing Bian), along with innovative imagery like the Guiding (Yinlu) Bodhisattva Images (Yinlu Pusa Tu) and On the Way to the Pure Land of Amitābha Images (Laiying Tu), collectively demonstrate the significant characteristics of Pure Land faith during this period. These include a shift from collective salvation in the Tang dynasty to the emphasis on individual liberation in the Song dynasty and the regionalization and secularization of Pure Land beliefs. The research focuses on the distribution of these images in three major regions—Dunhuang, Sichuan, and Khara-Khoto—while supplementing the analysis with relevant artifacts preserved in Japan to enrich the data. Moreover, this study examines the religious rituals and practices reflected in the Western Pure Land imagery of the 9th to 13th centuries to better understand how Pure Land faith influenced image-making during this time. Through systematic iconographic analysis and textual research, this paper reconsiders the developmental trajectory of Western Pure Land imagery in China during the 9th to 13th centuries and the religious meanings embedded within these works, providing fresh perspectives for future scholarly studies.