南傳佛教在東南亞的先驅：泰國墮羅鉢底時期的雕塑

墮羅鉢底（Dvaravti，西元6-11世紀）是南傳佛教在東南亞所建立的最早據點之一，也是束南亞早期的文化體系之一，更是泰國有文字的歷史之開端。但長久以來，這段歷史在國內沒有受到應有的重視。國際上，既有文獻的論述立場大多是偏向「印度化」，指印度主導了墮羅鉢底的美術；有些則偏向墮羅鉢底本身，指當時的住民憑著本身的努力創造了他們的美術，只不過借用了些外來的元素。以上兩類各說各話。有鑑於此，本文探討幾個問題二墮羅鉢底時期美術的主要內容及風格為何？它們是在印度的主導之下所產生的，還是泰國自創的，抑或另有其他原因？其演變過程為何？研究發現，墮羅鉢底時期流傳至今的主要作品是南傳佛教的雕塑。墮羅鉢底早期深受印度影響。接著除了持續採納印度文化之外，也吸收其他地區（如高棉、爪哇等地）的文化。同時，墮羅鉢底也對南傳做了在地的詮釋，並且逐漸變現新物，創造新品。這些新品有明顯的在地特色，這些特色應該是其主要人種－孟人(Mon)－所注入的。整個來說，墮羅鉢底確實曾經向印度取經；但也向其他地方取法。另一方面，墮羅鉢底也有自身的努力和創造力，才能夠製作出那些頗具特色的作品；但該國並非在真空的情境下憑一己之力創造新物。因此，「印度化」的論述並不完整，以泰國墮羅鉢底為本位的說法也只說對了部分。應該作整體全程的觀照才是。

關鍵字

墮羅鉢底；南傳佛教美術；泰國；東南亞；文化史

並列摘要

Dvaravati is one of the earliest bases of Theravada Buddhism established in Southeast Asia. It is also one of the earliest cultures of Southeast Asia, and one of the early cultures of Thailand. However, it has long been ignored. The existing literatures relating to Dvaravati usually lean towards one side. They either states that Dvaravati has been Indianized, or that the people of Dvaravati have created their own art. Accordingly, this essay aims to explore to art of Dvaravati. It discusses the forms, styles and development of its art, adopting a perspective different from the above mentioned ones. It finds that many works of art of Dvaravati are the sculptures of Sakyamuni inspired by Theravada Buddhism, and that to this religion the people of Dvaravati have their own interpretation. Also, the essay argues that although the art of Dvaravati has been influenced by that of India, it has learnt from other cultures, e.g., Khmer and Java, synthesized them with indigenous one on the basis of local context, and created its new works.