法華禪觀與法華圖像之關係－由慧思「法華三昧」禪觀看觀音菩薩「普現色身」形象的義涵

一般來說，由於石窟造像攝及複雜的各種因素，如藝術造型的時代演變及其他相關的各種社會歷史因素，學界有關佛教圖像之研究，由藝術史或考古及歷史研究之角度來解讀的研究成果，較由義理及思想的角度來解讀的研究成果為多。然而由於佛教圖像的形成過程多依照佛教經典，因此蘊藏於佛教圖像中，與其他類型造像不共的佛教思想與義涵，值得學人進行深入的解析，方能理解將佛教經論具像化的佛教造像之意義。觀音菩薩普現色身之造像一向被視為其慈悲心行之具體性表現，然而經由慧思法華禪觀解讀之分析，其禪觀意涵可被清楚界定。慧思在《諸法無諍三昧法門》中主張修習《妙法蓮華經》中的「如來／菩薩定」禪觀，並依《妙法蓮華經》清楚揭示修習《妙法蓮華經》所得法華三昧之成果為「一切種智」與「普現色身三昧」。由此可見，在《妙法蓮華經》的思想中，禪觀與慈悲，不但是密不可分的整體，慈悲亦同時是法華禪觀之妙用。

關鍵字

觀世音菩薩；法華圖像；法華禪觀；普現色身三昧；慧思

並列摘要

Can Buddhist iconography by illustrative of various Buddhist meditative states? The possibilities of the using of Buddhist iconography for expression of Buddhist meditation as well as guidance for meditation practice have long been intriguing questions for scholars.Guanyin Bodhisattva's thirty-two manifestations according to sentient beings' needs have long been recognized as a physical expression of the contents of chapter twenty-five of the Lotus Sûtra and have been seen as an utmost expression of Guanyin's compassion. However, another side of these manifestations can be detected through Huisi's reading of the Lotus Sûtra. Huisi sees the Lotus Sûtra as a way to achieve Buddhist Samâdhi. In his Zhufa wuzheng sanmei famen (The Dharma Gate of the Samâdhi Wherein All Dharmas are Without Dispute 諸法無諍三昧法門),Huisi clearly identify passages from the Lotus Sûtra that the practice of the Lotus Sûtra Samâdhi will lead to the achievement of the ”Samâdhi of Universal Manifestation.” Based on these passages from the Lotus Sûtra, Guanyin's universal manifestations can also be seen as an expression of the meditative states expounded in the Lotus Sûtra.