阿旃陀第十七窟〈師子（Simhara）故事圖〉－場面解釋的再檢討與故事表現的特質

The "Simhala Avadana" at Ajanta Cave 17: Reexamination of Interpretation and Characteristics of the Narrative Expression

福山泰子

《美術學報》 4期 (2011/09) Pp. 235-266

https://doi.org/10.29872/JFA.201109.0007

摘要

阿旃陀（Ajanta）石窟群位在印度馬哈拉斯特邦（Mahārāṣtra）奧蘭古巴德（Auraṅgābad）縣阿旃陀村。該地的早期石窟群開鑿於紀元前，後期的石窟群則是在五世紀期間被雕刻出來，主要是西瓦卡達卡（West Vākāṭaka）王朝的統治時期。第十七窟乃是後期石窟的最初期石窟之一，約為西元460年代。與該石窟群其他石窟不同的是，第十七窟描繪著佛陀敘事的壁畫，並以完整保留著石窟結構原貌著稱。本文討論第十七窟〈師子故事(Simhala Avadana)圖〉。該故事敘述睿智的商主師子成為國王，並討伐羅剎女。本文重新檢討該畫的場面解釋，並且著眼於故事表現的特質。關於作品場景的解釋之上，修林葛洛夫（D. Schlingloff）認為該畫上部的第24場面乃是描寫羅剎女（Raksasi）與師子所生的孩子的事件。然而，本文認為此景是應是描述象徵吉祥的女神帶領著侍者們拜訪師子，同時侍者們詢問師子是否要繼承王位的場面。不過，此場未見諸多佛典的相關紀錄。因此，本文以為此處插入此場不只強調繼承王位或是討伐羅剎女，更有象徵吉祥的意圖。其次，師子故事圖由28個場景組成，使用阿旃陀石窟常見之佛陀故事壁畫一般的傳統表現手法，例如：將各個場面描繪在固定區塊中；圓形構圖；以山嶽母題及建築母題作為各場面的分隔與結合。鋸齒狀的幾何母題調整各大畫面，並且給予畫面輕快的流動感，使得故事發展成具有節奏的場景。（上述表現手法）扮演著師子故事圖中的敘事功能。

關鍵字

阿旃陀 ； 西卡達卡朝 ； 師子故事圖 ； 羅剎女 ； 修林葛洛夫

並列摘要

The Buddhist cave complex at Ajanta is located in the Aurangabad district of Maharashtra state. The early period caves at the site were constructed before Christ, while the later period caves were carved out in the 5th century and onwards during the reign of the West Vakataka dynasty.One of the earliest of the later caves, Cave 17m is dated to the 460s. With the exception of one section of the cave, it is covered in wall paintings depicting Buddhist narratives. The cave is noteworthy for the fact that it is a complete rendition of the original overall plan for the cave's construction.This article discusses the Simhala Avadana tale section of the Cave 17 wall paintings. In this tale the wise merchant Simhala becomes king, and has to conquer Raksasi. The article reexamines the composition and notes the special characteristics of the narrative expression used.In terms of the interpretation of the scene, regarding the central upper section of the composition (scene 24), D. Schlingloff has interpreted the events as a depiction of Raksasi with a child born to Simhala. Conversely, this article proposes that the scene depicts Simhala being visited by ministers led by a goddess symbolizing felicity, as they go to ask Simhala to take on the kingship. This scene, not found in the various sutra scriptures, thus functions through its felicitous motifs, whether that of the succession to the kingship role or the subjugation of Raksasi.The ”Simhala Avadana” is made up of a total of 28 scenes, and such traditional expression methods as the depiction of each scene in its own setting, and the use of round compositions, combines with the use of mountain motifs and building motifs as scene dividers, as is often the case in Buddhist tale depictions at Ajanta. These elements all function as narrative expression in the Simhala scene. The geometric motifs based on a saw tooth form, modulate this large scene, and give it a light flowing rhythm, allowing the narrative to develop a sense of rhythmical speed.