敦煌《降魔變文》與經變壁畫之分析

佛教變文與經變之間關係密切，佛教經典的變文採取講唱的聽覺方式宣揚宗教教義，經變以圖像的視覺方式成為傳播佛教的絕佳工具，尤以經變壁畫最具特色。佛經變文的敘述與經變壁畫的繪製具有來源根據，《降魔變文》與《勞度差鬥聖變》壁畫為本論文探析的主題，《降魔變文》的題材多取自《賢愚經．須達起精舍品》，其故事內容精彩，角色形象鮮明，《賢愚經》以此主要的故事題材，促使敦煌俗文學講唱變文的開展，並為敦煌壁畫的經變圖開闢新素材。《降魔變文》將故事性強的情節予以渲染鋪排，有異於講經文的拘束，由《降魔變文》內容與《賢愚經．須達起精舍品》記載相互比較，可發現當中的異同，而變文的文學藝術成就往往高過於講經文。《勞度差鬥聖變》壁畫從北周西千佛洞開始，經唐、五代到宋陸續出現於敦煌石窟，繪畫內容表現佛教與婆羅門教兩勢力對峙的鬥爭場面。敦煌《降魔變文》與《勞度差鬥聖變》壁畫反映出在佛教思想中包容儒家思想的情形，並與民間思想交融，其目的為能在觀念上接近中國的庶民百姓，進而產生共鳴與信仰；因此其佛經變文與經變壁畫呈現宗教信仰、文化意識與審美體驗的豐富性。

關鍵字

《勞度差鬥聖變》；《賢愚經》；敦煌俗文學；敦煌石窟

並列摘要

The relationship between Buddhist literary style evolved from sutra and paintings evolved from sutra is close. The classic Buddhist literary style adopts the acoustical way combining lecturing and singing to promote religious doctrine. The paintings evolved from Sutra becomes an excellent tool for propagating Buddhism by the visual way of image, especially frescoes evolved from Sutra, which are the most characteristic. Both the description of Buddhist literary style and the drawing of frescoes have sources. The analysis of ”Literary Style for Vanquishing Demons” and the frescoes ”Laoduchai escape the sages” evolved from sutra, is the theme of the paper; the subjects of ”Literary Style for Vanquishing Demons” are mainly retrieved from ”shengyujing∙xudaqijingshepin”, the story of which is exciting and the characters of which is vivid. ”Shengyujing” uses the major story subjects to prompt the development of lecturing and singing literary style of Dunhuang Folk Literature and the to explore new material for the sutra picture of Dunhuang frescoes. Different from the restriction on lecturing scripture, ”Literary Style for Vanquishing Demons” heightened vivid plots. Through comparing the content of ”Literary Style for Vanquishing Demons” with the record of ”shengyujing∙xudaqijingshepin”, we can find the similarities and differences, while the literary achievements of literary style are often greater than that of lecturing scripture. The frescoes ”Laoduchai escape the sages” began from the West Zhou Xi Qian Buddha Caves and appeared in Dunhuang Grottoes from Tang Dynasty to Song Dynasty; the drawing content demonstrated the confrontation and fight scenes between two forces ”Buddhism and Brahmanism”. Dunhuang, ”Literary Style for Vanquishing Demons” and frescoes ”Laoduchai escape the sages”, reflect the situation that Buddhism tolerates Confucianism and blends with folk ideology, with the purpose of approaching Chinese ordinary people in the concept and thus generating resonate and beliefs; therefore, its Buddhist literary style and frescoes evolved from sutra show the richness of religious beliefs, cultural awareness and aesthetic experience.