墓葬與佛教：重探北魏平城時期的屋形葬具

北魏平城時期（398－494）墓葬出土的遺物與圖像中屢見佛教因素，對於考察中古時期墓葬與佛教的相互關係具有重要的參考價值。本文以平城時期的屋形葬具為考察對象，聚焦於新公布的山西大同仝家灣石堂。這套葬具中描繪二佛並坐、菩薩、七佛、力士等佛教圖像，為中國墓葬中全面且有系統運用佛像的首例，對於反思墓葬與佛教的關係深具啟示。本文重新檢視這套葬具的年代問題。據報導這件石堂與皇興三年（469）《邢合姜墓誌》一併出土。然而經由石堂形制、墓主身分、壁畫風格的比較，本文認為《邢合姜墓誌》應不屬於富橋電廠石堂，並將此石堂的年代重新改定在460年左右，相當於雲岡石窟開鑿之始。北魏平城時期屋形葬具備新的喪葬內涵，兼具葬具與祠堂的功能，成為葬祭合一的新型葬具。這種葬具在祭奠性質上的變化，為佛教圖像的導入提供有利的發展條件。在富橋電廠石堂的壁畫中可見佛教壁畫與墓壁畫相互結合，採用佛教功德觀來製作墓壁畫，佛教的齋戒、供養與墓中祭奠並行。由於其中的佛教圖像符合規範，推測其設計曾得到僧人、僧團的指導與認可。這套石堂的佛教圖像顯示出墓葬圖像的宗教性格以及平城在地佛教實踐的獨特樣貌，為探究平城地區墓葬、石窟、寺院三者之間的相關性提供新的觀察座標。

關鍵字

北魏平城時期；屋形葬具；仝家灣石堂；佛教；墓葬

並列摘要

Buddhist elements can frequently be identified in the relics and images unearthed at burial sites from the Pingcheng period of the Northern Wei (398-494), which serve as an important reference for examinations into the interrelationship between burial practices and Buddhism in the Middle Ages. Specifically, this paper takes house-shaped sarcophagi from the Pingcheng period as the subject of its analysis, placing emphasis on the stone halls discovered in Tongjiawan, Datong, Shanxi. The depictions of Buddhist imagery, such as twin Buddhas seated side by side, Bodhisattvas, the seven Buddhas, found on this set of burial objects are the first comprehensive and systematic use of Buddhist images in a Chinese burial, which have proven to be illuminating for reflections on the relationship between the two. This paper re-examines questions concerning the dating of this set of burial objects. It has been reported that the stone hall was unearthed along with the tomb inscription of the Xinghejiang from the third year of the Huangxing reign (469). However, when comparing the structure of the stone hall, identities of its owners, and style of the murals, this paper argues that the tomb inscription of the Xinghejiang does not belong to the stone hall unearthed near Fuqiao waste-to-energy plant, and that the latter should be dated to approximately 460, or around when the Yungang Grottoes were first being carved. House-shaped sarcophagi of that period held new funerary significance as well as maintaining the functions of both a burial object and ancestral shrine, thereby becoming a new form that combined burial and ritual purposes. This shift in the ritual nature of burial objects provided favorable conditions for the introduction and development of Buddhist imagery. From the murals themselves, one can note the amalgamation of Buddhist and burial conceptions, the murals were created using the Buddhist concept of merit. The practice of fasting, and offerings worked in concert with ancestral sacrifices. Seeing that the Buddhist images conform with norms of the time, it can be assumed that the designs were guided and approved by the monastic order. This set of Buddhist images thus demonstrates both the religious character of burial imagery and the unique features of local Buddhist practices at Pingcheng, all of which provide a new perspective for investigations into the correlation between burial processes, Buddhist grottoes, and monasteries in the greater Pingcheng area.