北朝時期的維摩詰經美術研究－以單體造像作品為中心

北朝時期的維摩詰經美術作品，依其出現的所在空間可以概分成兩大類型，一是存於石窟之中，一是表現於單體造像上。由於石窟為不可移動的建築，透過對其上所見之維摩詰經美術作品發展的判讀成果，反映的是當地當時人們對維摩詰經信仰的理解。而現存的單體造像作品因容易被移動，大抵多是不存在原有初始的特定時空環境下，所以難以就單一的作品例說明其可能的原本歷史意義。但若能考量出土地點，降低空間的不確定因素，依地區分別觀察的話，或能呈現出各區域發展脈絡的異同。因此，本文將以表現有維摩詰經圖像的單體造像為主，依地區別與時代順，檢視作品的表現形式與圖像構成，以便觀察其演變發展，瞭解其變化情形，藉以作為北朝時期的維摩詰經美術作品研究的補充說明。

關鍵字

北朝；維摩詰經；單體造像

並列摘要

During the Northern dynasties, works of art based on the Vimalakīrti nirdeśa sūtra may be divided into two types based on physical location: those located in grottoes, and freestanding sculptures. As the grottoes were immovable, we can identify and read about the development of the works of art based on the Vimalakīrti nirdeśa sūtra through observations which reflected natives' understanding of the Vimalakīrti nirdeśa sūtra beliefs at the time. By comparison, the existing freestanding sculptures are easier to move, and so most of them are no longer in their original environment. While it is difficult to explain the original historical significance through a single work, if we can consider the unearthed locations, the uncertainty of the spaces can be reduced. Observing separate regions shows the similarities and differences of context in each region. Therefore, this article will be based on the observation of freestanding sculptures that represent images from the Vimalakīrti nirdeśa sūtra. In accordance with the distinction between regions and times, we can look at the manifestation and image composition of the works to know their evolution. This further supplements the study of artwork on the Vimalakīrti nirdeśa sūtra during the Northern dynasties.