數珠手觀音由宋朝所興盛的觀音信仰衍生而來,其發展時間大約起於北宋時期,並延續至南宋,演化自唐朝時期所流行的千手千眼觀音,而其圖像意涵則出自於千手千眼觀音四十手中的其中一手。由於觀音信仰興盛,民間信仰的力量也影響著宗教藝術的造像儀軌,白衣觀音則因運而生,因此,數珠手觀音的圖像形制與白衣觀音之間有著不可切斷的連結。 在大足石刻中,共有五尊數珠手觀音造像,分別位於北山佛灣第一八○號窟、妙高山第四號窟、石門山第六號窟、北山佛灣第一三六號窟以及北山佛灣第一二五號窟。四川的政治、經濟、社會以及文化之內在條件為其滋養的溫床,宋朝的精神文化則形成其外在形象與內在建構的女形表現。本文首以經典內容所示,說明數珠手觀音的圖像意涵,接著分析龕窟形制以及群像關係,最後,論證數珠手觀音與白衣觀音的圖像相互運用關係。
The Rosary-bearer Guanyin (Bodhisattva of Infinite Compassion) was related to the cult of Guanyin flourished in the Song Dynasty, covering the Northern to the Southern Song Dynasties. This icon was derived from the Thousand-hand Thousand-eye Guanyin popular in the Tang Dynasty and its iconography was closely associated with one of the forty Item-Bearers of the Thousand-hand Thousand-eye Guanyin. The iconography of Guanyin began to be modified as its belief became popular, and the White-robed Guanyin came into being; the Rosary-bearer Guanyin was therefore inseparable from the White-robed Guanyin. There are five images of the Rosary-bearer Guanyin in all, located in Niche 180 of Beishan (North Mountain), Niche 4 of Miaogao Shan (Marvelous High Mountain), Niche 6 of Shimen Shan (Stone Gate Mountain), and Niche 136 and Niche 125 at Fowan (Buddhist Bay) of Beishan (North Mountain). The politics, economy, society, and culture in Sichuan nurtured the growth of the Rosary-bearer Guanyin, and the essence of Song culture helped foster its feminine morphology. The thesis first expounds the iconographic significance of the Rotary-bearer Guanyin by referring to the Buddhist sutras, and then discusses the relationship between the cave formation and image allocation, to be followed by demonstrating the iconographic relationship between the Rosary-bearer Guanyin and the White-robed Guanyin.