北魏關中佛、道造像及其信仰研究

Abstract

關中自古以來即為京畿之地，是最古老和最重要的政治、文化和宗教中心之一。長安作為佛教東傳的首站，造像深受印度和中亞藝術的影響。入魏之後，長安歷經太武滅佛，佛教曾一度停擺，而道教受北魏政權扶植，勢力大增。幸而有賴於前朝所積累的佛教底藴深厚，其信仰早已深入民間，故佛教得以快速復興，北魏時期數量可觀的佛教造像即是關中佛教信仰興盛的明證。道教造像受佛教藝術影響，在五世紀末始出現，分布於新天師道盛行的雍州北部一帶。 就造像風格而論，關中的風格發展可分為三期，第一期（426-470）沿襲前朝濃厚的域外色彩，然已嘗試將漢式元素融入其中，同時可見對雲岡石窟的影響。自第二期（471-500）開始孕育出本地獨特的風貌，以細密陰刻平行線條最能代表關中特色，並繼續對平城地區產生影響。第二期後半，隨著平城、洛陽實力的日益成熟，關中轉而受到兩者影響，然而關中對周邊的陜北及隴東仍有影響力。第三期（501-534）造像數量激增，無論從人物略帶豐潤的造型、菩薩的通肩式袍服、細密線條的裝飾紋樣和四面造像碑形制等，都展現了該地的地方特色。道像在第三期也發展出自身的風格語彙，即頭戴道冠、蓄長髯、持羽扇和衣袖呈翼形等特色，與佛像產生明顯的區別。上述均顯示出關中樣式在北魏晚期成熟而穩定的持續發展。 在造像題材與圖像方面，關中深受印度造像的影響，如佛傳和本生故事、彌勒圖像；同時亦出現不少中國本土自創的題材，如多寶佛、維摩文殊、五十三佛和三十五佛等。道教圖像以老君為主，北魏晚期出現了天尊、太上道君等尊格則是受到南方靈寶派道教的影響。從造像整體的圖像意涵觀之，釋迦、彌勒組合以及法華體系的三世佛組合最為流行，顯見大乘佛教在關中地區的盛行。另外，佛道雙教碑的特殊組合反映了關中庶民信仰中佛道合慈的特色，其贊助者同時有佛、道教徒，兩者對於各自的宗教屬性極為清楚，故其宗教意涵並非出於道教統攝佛教的概念，而是雙方藉由興辦齋會、立碑建功，以達到彼此期望死後得以「升天成仙」、「生天」或參與「龍華三會」的願望。值得一提的是，關中佛、道教信仰的興盛，實有賴於地方上巡遊教化的僧侶、道士和官員的推動，而造就了北魏關中造像藝術的繁榮與興盛。

The Guanzhong(關中) plain in Shaanxi(陜西) province is one of the oldest and most significant political, cultural, and religious centers. By the late 4th century and early 5th century, Chang’an(長安) was an important center in the dissemination of Buddhism and foreign-style Buddhist images. However, from 416 to 533, was one of eclipse for Chang’an, for it was neither a political capital nor a religious center. The Buddhist persecution in 444 was a major setback to Chang’an, but Taoism was flourished under the strong support of the North Wei courts. Nevertheless, the solid foundation established by the past period, for the Buddhism was deeply popular in Gunazhong, so Chang’an Buddhism could revived fast. The large numbers of Buddhist sculptures in the North Wei is evidence of Chang’an Buddhism flourishing. Under the influence of Buddhist art, Taoist sculptures appeared in the late 5th century, centralized around the middle part of Guanzhong where the Way of the New Celestial Masters(新天師道) prevailed. According to Guanzhong sculpture’s style analysis, its development is presented in three periods. The first period (ca. 426-470) still retained the strong Indian and Central Asian elements, but also saw Han elements; meanwhile, Chang’an Buddhist art continued to influence Yungang(雲岡). During the second period (ca. 471-500), the Guanzhong style was gradually mature, the curvilinear pattern as the most typical style. While Guanzhong lost its influence, on the contrary influenced by Yungang and Longmen(龍門). During the third period (ca. 501-534), the numbers of sculptures increased precipitously. In these images, human forms, Bodhisattva dress, curvilinear pattern and four-side stele all display a unique regional style. The Taoist images also developed own style to distinguish from Buddhist images, the Taoist deity wears a tall hat and Chinese robe with long sleeves, takes a fan and grows a beard. By the third decade of 6th century, the Guanzhong style was fully mature. In terms of subject, early Guanzhong images show a close connection to those of India, Buddhabiographies, Jataka tales and cross-foot Maitreya for example. Meanwhile, the subject like Duobao(多寶) Buddha, Vimalakīrti, fifty-three Buddha and thirty-five Buddha those were created by Chinese. The Taoist image mostly is Laojun(老君), Tianzun(天尊) and Taishundaojun(太上道君) appeared later was influence by the Southern Linbao(靈寶派) Taoism.In addition, the Buddhist-Taoist steles reflect the characteristics of the Guanzhong the plebeian beliefs, their sponsors both were Buddhist and Taoist, they clearly realized their own religious attributes. The goal of the two group actually reveals no differentiation, for they reach the same end only using different methods.