大足寶頂「毗盧道場」和「圓覺道場」圖像內容、源流新探索－破譯「六代祖師傳密印」謎底

本文分爲兩部分，第一部分為第14號窟毗盧道場，並從六個方面作詳細研究，即：毗盧道場圖形結構、該窟輪藏柱上的內容、毗盧道場和華嚴經變相緣起、莫高窟華嚴經變相圖像內容結構解析、毗盧道場圖像結構與敦煌華嚴經變相比較和東瀛「華嚴海會善知識圖」。本文主要論證了兩個問題：（1）第14號窟的題材是《華嚴經》「七處九會」變相，其圖像結構展開圖與莫高窟第55窟「七處九會」變相相似。（2）該窟右壁第2組圖像中的結特異手印的毗盧佛造型，文殊、普賢像，與東瀛「華嚴海會善知識」、「毗盧遮那三尊像」（建長寺）繪圖的相似，都可以在時代更早的杭州飛來峰「華嚴佛會」圖像中，以及安岳等地的石窟遺址中尋覓到相關的原型。第二部分為第29號圓覺道場，仍從六個方面分析，即：寶頂圓覺洞圖像、該窟與安岳華嚴洞圖像異同、該窟與安岳華嚴洞內容和時代、波士頓藏東瀛圓覺經變相的啓示、安岳與大足其他華嚴系統造像之研究以及「六代祖師傳密印」的謎底。本文之結論是寶頂圓覺洞和安岳華嚴洞題材都是屬於圓覺經變相；其圖像結構有差異，應是後者的建造時代在前。此外，筆者再將兩部分內容綜合，把安岳、大足石窟遺址中的圓覺經變相和華嚴佛會圖像列表排比，其中尊主佛所戴的寶冠立面上，大都有柳本尊Ⅰ（或Ⅲ型）化身像（Incarnation）。在（六）「六代祖師傳密印」的謎底一章中，結合《圓覺經》與宋代四川民間密教的深厚關係，可以認定，唐末五代初「川密」教主柳本尊不僅修持密教，而且還重視《圓覺經》與《首楞嚴經》，其私創的佛教宗派獲得了官方欽賜的寺額，因此他才有可能在宋代又被尊奉爲唐代華嚴宗五祖圭峰宗密（780-841）之後的第「六代祖師」，正好與大足石刻中「六代祖師傳密印」相一致。

關鍵字

毗盧道場圖形；華嚴繪畫；寶頂圓覺變相；安岳華嚴洞；圓覺經與密教；六代祖師謎底

並列摘要

The present article is divided into two sections. The first deals with Cave no. 14, the Vairocana Practice Hall, in six different aspects: 1. The structure of its images; 2. The contents of its pillar; 3. The relationship between the Vairocana Practice Hall and the Huayan jing transformation tableau; 4. An analysis of the Mogao Huayan jing transformation tableau's content and structure; 5. A comparison of the image structures of the Vairocana Practice Hall imagery and the Huayan jing transformation tableau; 6. An analysis of the Japanese image of the Huayan oceanic convocation of spiritual friends. From these, two conclusions can be drawn. First, source material for Cave 14 comes from the transformation tableau ＂Seven places and nine meetings.＂ Second, imagery on the second grouping on the right side of Cave 14 is similar to the Japanese image in terms of the form of Vairocana, Mañjuśrī, and Samantabhadra. These images have precursors from an earlier period in the imagery of the Feilai Peak in Hangzhou with a Huayan convocation and also in the imagery from caves in the Anyue region. The second section of this paper addresses six aspects of the Perfect Enlightenment Practice Hall in Cave 29: 1. Imagery in the Baoding Perfect Enlightenment Cave; 2. A comparison of imagery with the Huayan Cave in Anyue; 3. The contents and dating of the imagery of the two caves; 4. Insights from the Japanese transformation tableau of the Sutra of Perfect Enlightenment held in the Boston Museum of Fine Arts; 5. A study of the Huayan statues at Anyue and Dazu; 6. A resolution of the riddle of the ＂Sixth Huayan Patriarch's Transmission of the Esoteric Seal.＂ In conclusion, the source material for the Perfect Enlightenment Cave at Baoding and the Huayan Cave at Anyue are derived from the transformation tableau of the Sutra of Perfect Enlightenment. When differences are found, the latter is taken to be the earlier version. In a side-by-side comparison of the Sutra of Perfect Enlightenment transformation tableau and the Huayan convocation imagery found at Anyue and Dazu, both have an incarnation of Master Liu as buddha on their crowns. The sixth section of the second part of this paper, which deals with the ＂Sixth Patriarch's Transmission of the Esoteric Seal,＂ looks at the close relationship between the Sutra of Perfect Enlightenment and folk esoteric Buddhism in Sichuan. It is possible to determine that the esoteric Master Liu of Sichuan Esoteric Buddhism (Chuan mi 川密) during the late Tang and early Five Dynasties not only was a practitioner of esoteric Buddhism, but also esteemed the Sutra of Perfect Enlightenment and the Lengyan jing. The sect that he created privately received property from the court, which made it possible for him to be considered the sixth Huayan patriarch after Zongmi (780-841), the fifth. This is confirmed in the Dazu image, the ＂Sixth Huayan Patriarch's Transmission of the Esoteric Seal.＂