玄奘的像教藝術思維

玄奘對佛教藝術非常關注，首先表現在對佛經和佛像同樣重視，後人習慣上把玄奘赴印度稱之爲「取經」，可是玄奘自己始終認爲是「取經像」，玄奘同時代人也都這樣看待。其次玄奘常把佛教稱爲「像教」並強調這種提法，將佛教藝術作爲表法基本形式和重要手段之一。其三從玄奘留下的表文中大量運用《周易》的思想和語言來看，其所以重視佛教藝術與《周易》之「像思維」方法有關。其四玄奘重視佛教藝術目的是解行相應以推動佛教流布，造福人間。其五歷史上不少佛教大師多不僅重視「經」也同樣重視「像」，直接參與佛教藝術活動。文章最後提出，玄奘大師等重視佛教藝術的基本思想立場是中國傳統的「藝以載道」，非惟藝術而藝術。

關鍵字

玄奘；佛教藝術；像教；《周易》

並列摘要

Xuanzang demonstrated a high degree of interest in Buddhist art. First, this is shown in his equal appraisal of Buddhist scriptures and Buddhist images. Although he was later known for his journey to India to ＂seek scriptures,＂ Xuanzang himself, as well as his contemporaries, considered the purpose of his journey to be for the sake of obtaining both scriptures and images. Second, Xuanzang refers to Buddhism as the ＂religion of images.＂ allowing Buddhist art to serve as a basic form and method of representation. Third, in Xuanzang's extant memorials to the emperor, he used many concepts and terms from the Yi jing (Book of changes) relating to the Yi jing's concept of image-based thinking. Fourth, Xuanzang's interest in art was for the purpose of combining doctrine and practice to spread Buddhism and benefit society. Fifth, historically, many other great Buddhist masters also have also shown interest in both scriptures and images, or participated in artistic activities. The last section of this article points out that Xuanzang and other masters honor the traditional Chinese standpoint that art transmits Tao.