川密造像藝術初探

A Preliminary Study of Sculptural Art relating to Sichuan Esoteric Buddhism

李巳生(Si-Sheng Li)

《中華佛學學報》 19期 (2006/07) Pp. 436-480

https://doi.org/10.6986/CHBJ.200607.0436

摘要

東漢時，具有佛像特徵的造像已雕刻在四川樂山的崖墓中。密教造像起步於南朝齊、梁，繁榮於唐宋，歷經雜密、純密、晚期密教、持續不斷發展演變的進程。安史之亂，中原密教漸趨衰微之時，從中原、滇、藏，密教入川，顯密相涉，佛儒道交融和與周邊地區文化的交流中，產生具有本土特色的教派和造像群。不少造像極富想像，凝聚世俗之美，展現其多元性、豐富性和獨創性。本文據造像記以及有關文獻資料，試圖探索其發展演變的趨勢和藝術特色。

關鍵字

川密造像 ； 顯密相涉 ； 佛儒道交融

並列摘要

In the Eastern Han dynasty, sculptures with Buddhist characteristics were carved in the cave tombs of Leshan, Sichuan. Production of esoteric Buddhist sculptures first started in Qi and Liang of the Southern Dynasties, and flourished in the Tang and Song. Stages of Mixed, Pure, and Late Esoteric Buddhism can be identified. As Esoteric Buddhism gradually went into decline in the central plains of China due to the An Lushan Rebellion, it entered Sichuan from the central plains, Yunnan, and Tibet. As esoteric and exoteric Buddhism, Confucianism, and Taoism commingled and interacted with the culture of that marginal region, religious traditions as well as groups of sculptures emerged, both with distinctive local characteristics. Many of the sculptures are full of imagination, capturing secular beauty, expressing diversity, richness, and uniqueness. Using sculptural inscriptions as well as relevant textual sources, this article is an attempt to identify developmental trends and dominant artistic features.

並列關鍵字

Sichuan Esoteric Buddhist sculpture ； Mixtures of Esoteric and Exoteric Buddhism ； The combining of Confucianism, Taoism and Buddhism

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