試論敦煌出土P.4518（10）紙本畫頁之性質及其背景

A Study on the Dunhuang Manuscript P.4518(10): Its Nature and Context

陳懷宇(CHEN Huaiyu)

《敦煌學》 36期 (2020/08) Pp. 387-412

摘要

敦煌寫本P.4815（10）係一件貝葉形式的紙本著色畫頁，約出自十世紀。前人對其內容未多措意，僅據圖像上的人物表現稱之為說法圖。然而根據上面所繪四個人物的特徵，結合中心的摩尼寶珠作為主尊的地位以及傳世、出土文獻，似可以將其比定為如來受文殊師利菩薩所啟請向聽眾講說摩尼寶珠為法身之事，畫頁上兩位著僧衣的尊者應是已經漏盡的阿羅漢，因為他們帶有項光，並非普通僧人。而這一場景可以從《如來莊嚴智慧光明入一切佛境界經》中的相關描述和主旨敘述中得到印證。這一經典又是流行於中亞和東亞的重要大乘經文，不僅在敦煌發現了唐代寫本，亦有梵文寫本殘卷在于闐發現，可謂提供了理解畫頁很好的背景，而其主題之一則表現為摩尼珠被視為如來法身受到尊崇。

關鍵字

P.4518（10） ； 說法圖 ； 摩尼珠 ； 法身 ； 文殊師利 ； 如來莊嚴智慧光明入一切佛境界經 ； 于闐

並列摘要

The Dunhuang manuscript P.4518(10) is a fascinating illustrated manuscript that could be dated in the 10th century. Although it is commonly known as the scene of preaching Dharma, the contemporary scholarship does not offer an adequate interpretation. Combining with both traditional canonical texts and uncovered Chinese and Sanskrit manuscripts from Dunhuang and Khotan, this study suggests that this is an illustration showing that the Buddha explained the Mani pearl as the symbol of his Dharma Body (Dharmakaya) to two Arhats who were depicted as two monks with halo, upon the inquiry of Mañjuśrī Bodhisattva. This story might come from the Jñānālokālaṃkāra-sūtra, a popular text in Central and East Asia, as its Sanskrit fragments from Khotan and Chinese manuscripts from Dunhuang indicated. One of the most important themes in this text was the Mani pearl appeared as the symbol of the Dharmakaya, which should be honored and worshipped.

並列關鍵字

P.4518(10) ； Scene of preaching Dharma ； Mani pearl ； Dharma Body ； Mañjuśrī ； Jñānālokālaṃkāra-sūtra ； Khotan

參考文獻

後漢．支婁迦讖譯 《道行般若經》，《大正藏》第 8 冊。

吳．支謙譯 《撰集百緣經》, 《大正藏》第 4 冊。

西晉．竺法護譯 《正法華經》，《大正藏》第 9 冊。

西晉．竺法護譯 《佛說海龍王經》，《大正藏》第 15 冊。

西晉．竺法護譯 《佛說德光太子經》，《大正藏》第 3 冊。