The Fodingxin Dharani Scripture and its Audience: Healing, Talisman Culture, and Women in Popular Buddhist Print Culture

This study examines the book art contained within the Fodingxin Dharani Scripture (Fodingxin tuoluoni jing 佛頂心陀羅尼經; hereafter also called the dharani text), with the broader concerns of how popular Buddhist print culture addresses healing, talisman culture, and women. The primary sources it investigates include a ninthto-tenth century Dunhuang manuscript (Figs. 1a-b) and other illustrated printed counterparts dated from the twelfth (Figs. 2a, 3a) to the fifteenth centuries (Figs. 4a, 5). The Fodingxin Dharani Scripture, an indigenous Chinese Buddhist text traceable to medieval Dunhuang manuscript culture, synthesizes miscellaneous beliefs, turning a Buddhist scripture into a form of magical medicine. The twelfth century marks fresh illustrative and talismanic traditions in the print age. The printed text is accompanied by a frontispiece at the beginning, and three talismanic scripts at the end. The book art of the Fodingxin Dharani Scripture reached its peak in the first half of the fifteenth century. In addition to the frontispiece and talismanic scripts, the text is fully illustrated throughout, with its new illustrated repertoire highlighting the healing power of the scripture and the dharani charms, as well as the challenges women faced in childbirth. Numerous extant specimens offer valuable documentations of its donors, most of whom were residents in Ming (1368-1644) Beijing (Figs. 1a, 2). Accompanied by lively narrative pictures and containing Daoist-inspired talismanic writs that promise to save women from birth complications, it was often printed on demand. Women and their families, preoccupied with childbirth complications or ardently desiring a baby boy, were its main donors.

關鍵字

Fodingxin Dharani ； healing ； talisman ； women ； childbirth ； illustrations ； Buddhism ； popular print culture ； Southern Song ； Ming ； Beijing

並列摘要

本研究探討《佛頂心陀羅尼經》（Fodingxin tuoluoni jing，以下簡稱陀羅尼經）的佛教書籍藝術，並討論佛教印刷文化的流行如何回應醫療、符文化和婦女等較廣泛的議題。本文所使用之主要原始資料，包括九至十世紀的敦煌手抄本（圖1a-b），以及十二世紀（圖2a、3a）到十五世紀（圖4a、5）的木刻佛經插圖。《佛頂心陀羅尼經》是製造於中國本土的佛經，可追溯到中古敦煌的寫本文化。其經文和圖像本身是一個文化大熔爐，雜糅了多種信仰和文化因子，並把佛經看作具有療效的神藥。十二世紀標誌著印刷時代的新圖繪和符的使用傳統，印經的格套，是在開頭附有扉畫，而在結尾則加了三個秘字印。文圖並茂的《佛頂心陀羅尼經》刻經藝術在十五世紀上半葉達到了巔峰，除了扉畫和秘字印之外，全文均附有插圖，強調經文與陀羅尼的治癒力量，以及婦女在生育中面臨的挑戰。現存樣本中有許多有紀年的題記，為吾人提供了佛經施主的寶貴資料。因為這些有記錄的施主大多為明代北京的居民，或可進一步推測這些佛經就在北京印行。《佛頂心陀羅尼經》通常是接受施主訂製後再大量印刷的。這些經文的主要支持者為女性及其家人，她們受生育之苦，或非常渴望擁有男嬰。

並列關鍵字

《佛頂心陀羅尼經》；佛經插圖；版畫；佛教；印刷文化；秘字印；符文化；民間宗教；醫療；生育；女性；南宋；明代；北京

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