敦煌「金光明經變」再識讀

敦煌「金光明經變」現今遺存十鋪，目前可說是敦煌各種經變畫中，研究成果最少的。現今研究成果中關於金光明經變中兩個部分的圖像，是連基本的釋讀皆有諸多闕如：（一）說法圖——「聽法人物」的身份角色不明，（二）經變故事——「流水長者子」、薩埵太子「捨生故事」，這兩個故事在早期本生故事中出現過、如今金光明經變中亦作描繪，但無論隸屬於何種分類，其故事的圖像內容至今學界未揭露居多，以上兩部分，本文皆重新進行了圖像的釋讀與分析。此外，隋代417窟的描繪的「流水長者子」，究竟應該隸屬於早期本生故事、抑或是金光明經變中的故事畫？這兩種認定，牽涉到敦煌的金光明經變最早出現的時代究竟是隋代、抑或是中唐？目前學界有兩種認定，筆者在本文中透過判讀與分析，確認應歸屬於早期本生故事的範疇為妥。透過本文的研究，可知敦煌金光明經變發展脈絡：（一）肇始——第154窟，一窟兩鋪，南壁在前、東壁在後；（二）突變——第158窟，因應窟形打亂畫面佈局、影響圖像確立；（三）創新：第85窟──有心重新配合經文的嶄新圖像；（四）遲暮──第55窟，復興意圖敵不過衰敗之跡。而中唐154窟的南壁之作，筆者認為具有「粉本」效應，對敦煌之後金光明經變都產生影響，在區域傳播的問題，在新疆高昌佛寺遺址的金光明經變中，亦可見敦煌圖像傳播影響的痕跡。

關鍵字

敦煌；金光明；經變；流水長者子；薩埵太子

並列摘要

The ten surviving Jinguangming Sutra Tableaux are arguably the least studied sutra paintings in Dunhuang Caves. Even the most fundamental parts of the images presented in the sutra tableaux are unclear. For example, the identities of the audience in the preaching scene are not identified, and the detailed episodes of the sutra are not recognized, either. The story of the Elder Jalavahana's son and the Prince Sattva sacrificed himself to save the tiger cubs had been painted in earlier periods under the context of Jataka stories. And yet they were also portrayed in the Jinguangming Sutra tableaux in the later period. Therefore, this paper intends to study and analyze these two elements further. In addition, should the Elder Jalavahana's son story depicted in Cave 417 built in the Sui Dynasty be considered as a Jataka story, or part of the Jinguangming Sutra tableau? To clarify this issue, the time when the earliest Jinguangming Sutra tableau appeared is the key. Was it the Sui or the Tang Dynasty that this said sutra was first painted in Dunhuang? After detailed research, it suggests the image in question in Cave 417 should be perceived as a Jataka story. Under scrutiny, these tableaux reveal the following development chronologically: 1. inception: In Cave 154, the image on the south wall was painted first, and then the one on the east wall was made later. 2. mutation: Due to the limitation of the shape of Cave 158, episodes possibly represented the Jinguangming Sutra were scattered around and resulting in difficulty in verifying their identities. 3. innovation: A wall painting clearly corresponding to the Jinguangming Sutra was designed in Cave 85. 4. Declination: The intention of revival was overwhelmed by the diminution in Cave 55. Furthermore, the image on the south wall of Cave 154 had been influential in later presentations of Jinguangming Sutra tableaux in Dunhuang. It is clear that this particular image served as the ＂model stencil＂ even elsewhere, such as in the Gaochang Temple in Xinjiang.