西藏流亡政府金銅佛像鍛打工藝之研究

藏傳佛教造像藝術開始于西元七世纪初，此後一直随着藏傳佛教的發展而發展，它是在古印度、尼泊爾及中原地區等周邊佛教文化影響下，並且不断融入西藏本土的傳統信仰和民族審美觀念，形成了獨特的佛教文化工藝面貌。藏傳佛教造像種類繁多、形象複雜多變，不論在繪畫或雕塑的表現，成為引人注目的藝術特色。西藏早期的佛教造像，以石雕和泥塑居多，也有部份金銅造像經由域外傳入，西藏本土的金銅佛造像一直到西元十二至十三世紀，即藏傳佛教的后弘期，逐漸發展，金銅佛像在西藏的寺廟文化中佔有重要的地位，是融合了精湛的金屬加工技藝與獨特的審美觀而成的豐富表現，成為西藏傳統工藝的代表之一，是西藏文化遺產的精華。可惜的是經過十年文化大革命的影響，在西藏境內對於佛教造像工藝產生的斷層影響，所幸西元一九五九年流亡至印度的西藏流亡政府，設置了諾布林卡文化保護中心，其中包括唐卡、木雕、金屬的鍛、錘、鑄造以及刺繡等工作室，這些隨著達賴喇嘛流亡的工藝匠師，躲避了文化大革命的迫害，將西藏傳統工藝的命脈在境外傳承延續，培養了許多掌握原來已經瀕臨失傳之傳統技藝的新一代西藏人。西藏金銅佛像的工藝成就，與製作工匠對於銅金屬的特性與緞鑄技巧的熟練有關，同時對於佛像度量比例及圖像的嚴格態度是密不可分的，金銅佛像製作工藝的研究，必須從工藝技術的角度，展現其本來的面貌，同時從文化歷史背景來分析其演變與交流的影響。目前對於藏傳佛教金銅佛像的相關研究多僅止於文獻資料整理，或從印度、尼泊爾等相關地區的技術推斷與風格分析，關於製作工藝的專門研究較為缺乏，對於此一豐富表現的工藝形式而言，至為可惜。本研究以民俗學理論為基礎，採用歷史研究法探討藏傳佛教造像工藝發展演變的關係，及西藏流亡政府佛教造像工藝的背景與金銅佛像工藝匠師的傳承體系，同時對於造像量度比例的發展演變深入討論；接著採用田野調查法現場觀察流亡政府金銅佛像工作坊匠師製作情形，實地拍照並記錄工具、材料、技法與流程，將現況做詳實的記錄與分析，同時討論銷售範圍與技藝傳程的影響；再輔以訪談法，藉由訪談老匠師及其學生，對金銅佛像的技藝傳承做更深入的了解，藉以補足文獻資料的遺漏及驗證田野調查的結果與研究發現，更能了解老匠師的生長的時代背景及流派傳承。本研究的完成除了完善藏族傳統工藝的整理，對於無形文化資產的保護工作亦具意義。此外，從諾布林卡文化保護中心金銅佛像工作坊的傳統工藝傳承教育的過程中，發現傳統工藝的傳承，除了工藝技術的傳承外，其中的工藝精神是最為關鍵的因素，師徒間如父子般的相處模式，往往能將匠師精神淺移默化於無形，所傳承的工藝精神，是現代教育中所無法體現的部分，這種工藝精神的傳承，所帶來的文化傳承使命感，是延續傳統工藝命脈的關鍵，可提供我們對於傳統技藝的傳承方式的啟發。

關鍵字

金銅佛像；藏傳佛教；鍛打工藝；傳統工藝

並列摘要

Tibetan Buddhist sculptural arts began developing alongside Tibetan Buddhism starting in the early seventh century. This art was influenced by Buddhist culture in such peripheral areas as India, Nepal, and China, and constantly absorbing indigenous Tibetan beliefs and popular aesthetic concepts, which caused it to evolve into a unique form of Buddhist craftsmanship. Many kinds of Tibetan Buddhist statues were made, and were often very complex and elaborate in form. As a result, both Tibetan Buddhist painting and sculpture became spectacular art forms. While early Tibetan Buddhist images tended to be carved from stone or made from clay, the production of copper-gold alloy statues gradually entered Tibet from other areas. The making of copper-gold alloy Buddha statues gradually developed in Tibet through the 12th and 13th centuries, which was the Later Propagation Period of Tibetan Buddhism, and copper-gold alloy Buddha statues eventually occupied an important status in Tibetan temple culture. These statues combined exquisite metalworking skill with a unique aesthetic outlook, and this art became one of Tibet's most representative traditional crafts and a key element of the Tibetan cultural heritage. While the ten-year Cultural Revolution caused the making of Buddhist statues within Tibet to be interrupted, the Tibetan government in exile, after fleeing to India in 1959, established the Norbulingka Institute, which included thangka, wood carving, metal forging, hammering, and casting, and embroidery workshops. The craftsmen who had followed the Dalai Lama into exile, and thus avoided persecution during the Cultural Revolution, maintained the transmission of traditional Tibetan crafts outside of Tibet, and trained new generations of Tibetans in traditional skills that had once faced extinction. The production of fine copper-gold alloy Buddha statues depends on the proficiency of the craftsmen with the characteristics of copper metal and forging and casting techniques, and is also inseparably connected with painstaking attention to the Buddha statues' dimensions, proportions, and expression. Research on the making of copper-gold alloy Buddha statues must present the essential nature of this craft from a technical perspective, and also analyze its evolution and influences in light of their cultural and historical background. At present, most studies of Tibetan Buddhist copper-gold alloy Buddha statues have been limited to research on the literature, or consisted of technical inferences and stylistic analysis concerning this art in India and Nepal, etc. Unfortunately, has been a lack of research specifically addressing production techniques used is this richly-expressive form of craftsmanship. Taking folklore theory as its foundation, this study uses historical research methods to investigate the development and evolution of Tibetan Buddhist statue craftsmanship, Buddhist statue production under the Tibetan government in exile, and the skills transmission system among craftsmen making copper-gold alloy Buddha statues. At the same time, this study also discusses developmental changes in statue dimensions and proportions. A field investigation is further employed to observe the production of copper-gold alloy Buddha statues in a workshop run by the government in exile, including the taking of on-site photographs and records of tools, materials, techniques, and procedures. Apart from making a detailed record on actual operations and performing analysis, the study also discusses the scope of sales and the transmission of skills. Interviews with senior craftsmen and their apprentices provide an in-depth understanding of how the skills used in the production of copper-gold alloy Buddha statues are passed on. The information gained in this way can fill gaps in the literature and confirm the results of field surveys and other research, and can shed light on the historical background of senior craftsmen and their lines of transmission. Apart from performing a thorough overview of this traditional Tibetan craft, this study can also make a significant contribution to the protection of intangible cultural assets. It was found that in the process of passing on traditional craftsmanship in the copper-gold alloy Buddha statue workshop at the Norbulingka Institute, apart from transmitting crafts techniques, the transmission of the spirit of craftsmanship has been a key factor. The masters and their apprentices work together like fathers and sons, and the spirit of craftsmanship is transmitted imperceptibly and intangibly. This spirit of craftsmanship is something that modern education cannot effectively impart, and the sense of responsibility for the transmission of culture that accompanies the spirit of craftsmanship is the key to the continued propagation of traditional crafts. This line of reasoning can provide us with insights concerning the transmission of traditional crafts.

並列關鍵字

Bronze Buddhist Sculpture ； Tibetan Buddhism ； forging ； traditional crafts

參考文獻

45. 張建世(2008)，〈昌都藏族銅佛像打製工藝調查〉《中國藏學》第4期，105~114。

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西藏流亡政府金銅佛像鍛打工藝之研究

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