敦煌莫高窟323窟研究

敦煌莫高窟323窟是一個建於唐代前期，壁面圖像與組合甚為特殊的石窟。窟內南北壁感通故事畫、東壁戒律畫皆是唐代新出的圖像，且是唯一畫例。南北壁下方等身高成列菩薩，與隋唐時期的小型菩薩不同，此窟的圖像組合亦為孤例。323窟因殊異的圖像與配置引起學者關注，然而無論是石窟建造年代、圖像結構與宗教功能等議題，皆未有定論。本論文以323窟為討論中心，分為「風格分析與年代」、「圖像解析與結構關係」、「歷史背景」共三章。一方面透過壁畫風格分析，釐清石窟年代，彌補過往學者在風格分析上的不足。二方面藉由解析圖像內容、壁面間的組合關係，探究石窟的宗教意義與功能，且試圖囊括各個壁面，作整體性的思考。此外論析產生323窟的歷史背景，透過323窟理解初唐敦煌石窟藝術的一個側面。筆者認為323窟是八世紀初以僧人為主體，授受菩薩戒的石窟，是莫高窟最早與授受菩薩戒有關的石窟。從造窟年代來看，壁畫人物、山水背景的繪畫風格，以及人物與山水的組織方式，皆與八世紀初期的217窟最為近似，應屬盛唐前期開鑿的洞窟。石窟結構與功能上，323窟是僧人授受菩薩戒的石窟。東壁戒律畫以《大般涅槃經》為本，強調嚴守菩薩戒。南北壁感通故事畫，則是僧人以諸因緣使眾生皈依佛門，此與《大般涅槃經․聖行品》中，僧人發十二誓願後，更要度化眾生的大乘菩薩精神相應。此外與敦煌遺書與菩薩戒相關文獻對比，南北壁成列菩薩，或為受戒時的同學伴侶，千佛則為授受菩薩戒時作為證戒師的十方諸佛。西壁是未來佛彌勒，具有願受菩薩戒者得於未來共赴龍華、值遇彌勒的思想。故筆者認為323窟透過授受菩薩戒、大乘菩薩利他的精神，以及於未來值遇彌勒的內涵，串聯起各壁面與尊像。有關323窟的歷史背景，石窟壁畫不僅反映佛道之爭的焦慮、唐代授受菩薩戒的盛行，亦反映敦煌與中原的密切聯繫，此與唐前期敦煌在軍事、宗教上的狀態相符。軍事上有與中原暢通的驛道、對西域戰爭而東來的府兵、源自中原等地的官員派任等。宗教上，敦煌遺書留存諸多中原僧侶、寫經生的經卷與官本寫經，此外僧侶的移動，也促進兩地間的互通。軍事、宗教上的例證，體現唐前期敦煌與中原的流通，而323窟內的孤例壁畫，可能就是藉由頻繁的交流傳入。323窟不僅在圖像與結構上富有特殊性，更同時反映了唐代前期佛教的時代特徵，並補充唐前期敦煌佛教的發展狀況。

關鍵字

敦煌莫高窟323窟；菩薩戒；感通故事畫；戒律畫；大般涅槃經

並列摘要

Cave 323 at Mogao Grottoes, Dunhuang, was excavated in the early Tang Dynasty with unique images and combinations. The Divine Connection paintings on the north and south walls and the Precepts paintings on the east wall are all new subject matters of the Tang Dynasty, and also the only examples at Dunhuang. Bodhisattvas on the lower section of the north and south walls are much taller than those found in the Sui and other Early Tang grottoes at Dunhuang. The image combination of this cave is unique and never seen in other places as well. Cave 323 has attracted the attention of many scholars due to its special subject matters and combinations. Nevertheless, to this day, there is yet a conclusion on issues such as the date of the grotto, its image structures, and its religious function. This thesis is divided into three chapters: Stylistic Analysis and Date, Iconographic and Iconologic Study, Historical Background. This thesis aims to clarify the date of the cave through detailed stylistic analysis of mural painting to complement the insufficiencies of stylistic analysis of past scholars. It also explores the religious significance and function of the grotto through discussing the meaning of the images and their relationship with each other. The author included all walls in the thesis for comprehensive thinking. In addition, this thesis is also dealing with the historical background of Cave 323 to understand some aspects of Dunhuang Grotto Art in the early Tang Dynasty. The author believes that Cave 323 was a grotto where monks received Bodhisattva Precepts in the early eighth century. It is the earliest cave associated with the Bodhisattva Precepts among Mogao Grottoes. In terms of the date of this cave, the painting styles, such as the forms and dresses of the figures, landscape background, and the relationship between the figures and the landscapes, etc., resemble to those in Cave 217 dated to the early eighth century, therefore, Cave 323 should be dated at the same time, that is, in the early stage of the flourishing period of Tang. In terms of its structure and function, Cave 323 is a cave for monks receiving the Bodhisattva Precepts. The Precepts paintings on the east wall are based on the Mahāparinirvāṇa Sūtra, emphasizing strict adherence to the Bodhisattva Precepts. The Divine Connection paintings on the north and south walls show how monks make sentient beings convert to Buddhism by all means, which correspond to the spirit of Mahayana Bodhisattva in the Holy Practice Chapter of the Mahāparinirvāṇa Sūtra. The Holy Practice Chapter describes that after monks swear the twelve vows, they have to enlighten all beings. In addition, based upon the Dunhuang manuscripts and the scriptures of Bodhisattva Precepts, bodhisattvas on the north and south walls are fellow friends in the Bodhisattva Precept ritual; the One Thousand Buddhas are buddhas of the ten directions serving as witness preceptors; the west wall painted the Future Buddha Maitreya, representing the hope that people taking the precepts will be able to attend the three Dragon-Flower Assemblies and meet the Maitreya in the future. Therefore, the author believes that the content of receiving the Bodhisattva Precepts, the altruistic practices of the Mahayana Bodhisattva, and the idea of meeting Maitreya in the future are seen throughout the walls and figures in the Cave 323. In terms of the historical background of Cave 323, the murals reflect not only the anxiety of the dispute between Buddhism and Taoism, but also the prevalence of the Bodhisattva Precepts in the Tang Dynasty. Moreover, the murals highlight the close connection between Dunhuang and the Central Plain. In the early Tang Dynasty, Dunhuang had unobstructed courier routes connecting to the Central Plain, numerous soldiers from the east joining wars against the Western Regions, and many government officials assigning to the region from the Central Plain. In addition, the Dunhuang manuscripts preserve many scriptures written by monks from the Central Plain, and official scriptures issued by Tang court. Furthermore, the movement of monks facilitated the exchange of the two places. Military and religious exchange cases all reflect the connection between Dunhuang and the Central Plain in the early Tang Dynasty. It is possible that the unique murals in Cave 323 were introduced through this frequent exchanges. Cave 323 is unique in its images and structures; in addition, it reflects the characteristics of Buddhism in the early Tang Dynasty and complements the development of Dunhuang Buddhism in the early Tang Dynasty.