敦煌僧讚文學寫本與壁畫的互釋－以P.2775寫本原生態為例

The Entangled Interpretations on the Manuscripts on the Monastic Eulogies and their Related Murals from Dunhuang: With Special Reference to the Original Form of P. 2775

鄭阿財(CHENG Atsai)

《敦煌學》 37期 (2021/08) Pp. 127-145

摘要

原生態概念在敦煌文獻圖像整理研究具有交叉開展研究的意義。法藏P.2775寫本自王重民《伯希和劫經錄》著錄以來，研究者均將之視為《付法藏因緣傳》的抄本或略抄；從詳審寫本原生態，不難發現實具同一卷匯抄多種，內容多元，情況多樣的特色，並非單純的《付法藏因緣傳》抄本或略抄。寫卷的背面12行分抄「義淨三藏、白草院史和尚、劉薩訶和尚」等十幾位高僧名目的現象，當屬石窟壁畫繪製歷代祖師傳法圖像及配置高僧讚的參考。透過與石窟高僧圖像及P.2680、P.3727、P.2971壁畫榜題底稿等比對，使高僧傳讚寫本與石窟壁畫高僧圖像之間的關係，獲得清晰的互證與互釋。

關鍵字

高僧讚 ； 高僧畫像 ； P.2775 ； 榜題 ； 付法藏傳

並列摘要

The concept of the original form is crucial in studying Dunhuang manuscripts and paintings from a mutual and broad perspective. This applies to the study of the manuscripts on the monastic eulogies and their related murals. Since Wang Zhongmin's catalogue of the Pelliot collection, the manuscript P.2775 is usually regarded by contemporary scholars as the copy and excerpt of the Traditions [of the Causes and Conditions] of Transmission of the Dharma Treasury (Fu fazang yinyuan zhuan). While looking into its original form, one can find that it does not limit to this text, but includes many other contents. On the verso side it wrote the names of more than ten eminent monks such as Yijing, Monk Shi, and Liu Sahe, which could be the blueprint for the images of those masters for transmitting Dharma through the ages with mural inscriptions and their eulogies on some murals in Dunhuang. Therefore, in studying these images with the manuscripts P.2680, P.3727, P.2971 as well as some drafts for wall paintings, this paper attempts to build the connections between the manuscripts of monastic eulogies and murals, which will lead clearer interpretations on texts and images in Dunhuang.

並列關鍵字

Eulogies for eminent monks ； images of eminent monks ； P.2775 ； mural inscriptions ； Traditions of Transmission of the Dharma Treasury

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