何子芝本碧紙泥金銀《法華經》卷首畫研究

分藏在即墨、膠州的北宋慶曆四年何子芝本《法華經》有七幅卷首畫，以泥金銀繪在碧紙上，迥異於傳統壁畫形式「法華經變相」，是現存唐宋《法華經》插圖最複雜的一例，且繪藝精湛，洵極可珍。儘管各卷圖像內容不同，構圖模式卻高度一致，卷首畫均由三張紙、四類圖像、五段畫面構成，自右而左分別為護法善神、各品圖像、供養人像（第一紙）、釋迦說法圖（第二紙）及各品圖像（第三紙）。本文主要聚焦於這四類圖像在唐宋經卷佛畫發展脈絡中的產生與流變，以及何子芝本卷首畫所體現出的獨特性。另外，首卷插圖由宋繪和明繪兩部分拼合而成，其中明繪部分以萬歲牌為中心，強調佛教與皇權的緊密聯繫，呈現出迥異於北宋的經卷佛畫取向。

關鍵字

法華美術；佛經插圖；卷首畫；何子芝；碧紙

並列摘要

The seven frontispieces in the He Zizhi edition of the Lotus Sutra made in the fourth year of the Qingli reign (1044) of the Northern Song dynasty are divided between two collections in Jimo and Jiaozhou. Exquisitely illuminated with gold and silver on blue paper, they are one of the most intricate illustrations of the Lotus Sutra that have survived from the Tang and Song dynasties. These precious works differ significantly from the traditional form of pictorial representation of the Lotus Sutra as mural painting. Although the contents of each of the frontispieces vary, the composition patterns of the depiction are highly consistent. Made of three pieces of paper, each frontispiece has four types of imagery and is divided into five sections. The five sections of the pictorial composition from right to left include the guardian deities, chapter illustrations, donor images painted on the first piece, the Buddha preaching on the second; chapter illustrations on the third. This article focuses on the origin and development of these four types of imagery in the Buddhist frontispieces of the Tang and Song in order to demonstrate the unique features manifested in the He Zizhi edition. In addition, the frontispiece in the first volume of He Zizhi edition consists of paintings from both the Song and Ming dynasties. The painting of the Ming section centers on the tablet inscribed with Long Live the Emperor, emphasizing the close relationship between Buddhism and the imperial power, an aspect rarely seen in the sutra illustrations of the Northern Song dynasty.