藏傳佛教唐卡中數目所蘊藏的意涵研究

藏傳佛教藝術唐卡是了解藏民族的百科全書，同時也是藏族文化和藏傳佛教交互相融的結晶。唐卡藝術囊括藏民族的歷史、神話、傳說、醫學、曆法與宗教。最早期的唐卡藝術是用於傳法、信徒供奉和修持，因此，唐卡藝術中存在著許多宗教上的意涵與象徵圖樣，此外，在唐卡圖像上發現許多重複的圖案，這些重複的圖案被本研究者統計次數後以數目來進行歸納，本研究於是從「唐卡中數目所蘊藏的意涵」來發想，並進行探究。探究後衍生出五個重點：從藏傳佛教教義中找尋與數有關連性的教義、分析跟數有關連性的圖樣、以美感角度來欣賞唐卡、唐卡中數目存在之探究和同一神靈在不同幅唐卡中所呈現的面貌。從文獻探討中得知兩項重點。第一，藏傳佛教為了便於僧人記憶與傳道，於是將相同性質的教義歸類一起，並且給予一個統稱，這些統稱的教義即是與數有關連性的教義；第二，藏傳佛教的畫師將這些有關連性的教義，轉化成相同的圖像並繪製於唐卡上。本研究剖析唐卡藝術後瞭解到三個重點，首先，唐卡藝術處處存在著美感，這些美感早在外來因素影響前，即存於唐卡之中；第二，並非每幅唐卡藝術中均存在著與數目有關連性的教義，教義多數時候出現在用於傳道或是有描繪神靈的唐卡中；最後，因為受到眾多畫派、教派與外來文化的影響，同樣神靈在不同唐卡中也很難一樣，這顯示唐卡除非刻意模仿，不然不存在一模一樣的兩幅唐卡。

關鍵字

藏傳佛教；唐卡；數目

並列摘要

Tibetan Buddhism Thangka is not only the encyclopedia to understand the Tibetan, but also the crystallization of Tibetan culture and Tibetan Buddhism. Thangka covers the history, myth, legend, medical science, calendar and religion. In the earliest period, Thangka is used to preach, consecrate and self-practice, therefore, there are many religious meanings and symbol patterns in Thangka art. Besides, there are many repeated images found in Thangka patterns, these patterns were counted by me and concluded in number. Then this study is thought up from "The hidden meaning of number in Thangka" and I keep exploring. After exploring, five key points were derived: finding religious doctrines related with numbers in Tibetan Buddhism teachings, analyzing patterns related to numbers, enjoying the sight of Thangka from the aesthetic point of view, exploring the presence of number in Thangka and the appearances of the same divinity presented in different Thangkas. From exploration in documents I get two key points: First, Tibetan Buddhism classified the same property of doctrines together in order to facilitate monks to memorize and preach, and gave them a general term, which is related to number. Second, Tibetan Buddhism painters transformed these related doctrines into the same image and drew it on Thangka. After analyzing Thangka art, this study found out three key points: First, there is beauty everywhere in Thangka art, the beauty exists in Thangka early before foreign elements came. Second, not every piece of Thangka Art has doctrines related to number, doctrines most appear when preaching, or in Thangkas which divinities are depicted on them. Finally, since it was influenced by many schools of painting, denominations and foreign cultures, the same divinity is hardly the same in different Thangkas. This shows that there are no exactly the same two Thangkas unless purposely imitation.