從大王窟看曹議金護國壇場的意義－兼論四角天王為金光明經變的一種樣式

A Look at Cao Yijin's State Protection Awareness from the Cave of the Great King - Also on whether the four-cornered heavenly kings are a form of the Mural of the Golden Light Sūtra

許絹惠(HSU Chuanhui)

《敦煌學》 37期 (2021/08) Pp. 75-100

摘要

曹議金大王窟是曹氏歸義軍時期的石窟典範，其中四大天王繪於窟頂四角的設計開創先河，此後許多重要石窟其形式及經變配置，多仿自於大王窟。敦煌寫本P.3781是該窟在主體工程與窟頂壁畫完工時的願文，文中祈願四天王的護法摧魔，且以慈悲的力量救人護國。又寫本P.2058V（15）、（12）記載曹議金舉行了大隨求道場、大悲道場並轉誦《金光明經》（《金光明最勝王經》），意在祈求救人護國。這些祈願有可能直接影響石窟的經變配置及空間設計。如窟頂四披所繪的賢劫千佛，就是願文中所寫的千佛，是為拜懺的對象，此則呼應了《金光明經》的懺悔意旨。又如窟頂四角畫有四大天王是為護佑結壇，也是取義自《金光明最勝王經》〈四天王護國品〉護民護國的天王角色。《金光明經》是護國三經之一，雖然大王窟沒有繪製淨土樣式的金光明經變，但窟頂四角的四大天王其經義取自該經，也可視為金光明經變的樣式之一，從四王護壇啟建、窟頂所繪懺悔賢劫千佛，都是大王窟取自《金光明經》護國意識的表徵。

關鍵字

曹議金 ； 大王窟 ； 護國壇場 ； 四角天王 ； 金光明經變

並列摘要

The Cave of Great King Cao Yijin presents a model created during the time of Cao's Guiyi Circuit. In particular, the design of the four heavenly kings painted on the four corners at the top of the cave established a precedent. Many subsequent caves that were significant exhibited imitations of the Cave of the Great King in their form and configuration of the sūtra mural. P.3781 is a prayer manuscript that was inscribed when the main structure of the cave and the mural on its ceiling were completed. The prayer was to the four heavenly kings, asking for their protection, to destroy demons, and also to save humankind and protect the state through their benevolence. Further, P.2058V (15) (12) recorded that Cao Yijin organized the Mahā-pratisāraḥ and great mercy penitential bodhimanda and chanted the Golden Light Sūtra (Suvarṇaprabhāsa Sūtra) to pray for world salvation and the protection of the state. These prayers naturally had a direct influence on the configuration of the sūtra mural and the spatial design of the cave. The thousand Buddhas of the Bhadrakalpa painted on the four slanting surfaces at the top of the cave are the thousand Buddhas referred to in the prayer manuscript as objects of repentance. Their images echo the intent of repentance denoted in the Golden Light Sūtra. The four heavenly kings painted on the four corners at the top of the cave were intended to guard the altar. They were also derived from the heavenly kings characters depicted in the Four Heavenly Kings Protecting the State in the Golden Light Sūtra. The Golden Light Sūtra is one of the three Sūtras for the protection of the country. Although there was no land-cleansing style mural of the Golden Light Sūtra painted in the Cave of the Great King, the meaning of the four heavenly kings painted on the four corners at the ceiling of the cave was inspired by the Sūtra and hence can be perceived as an mural style of the Golden Light Sūtra. Both the construction of the four altar-guarding kings and the images of the repenting thousand Buddhas of the Bhadrakalpa drawn on the ceiling of the cave reveal that the Cave of the Great King received the state protection awareness expressed in the Golden Light Sūtra.

並列關鍵字

Cao Yijin ； the Cave of the Great King ； the Mandala of State Protection ； four-cornered heavenly kings ； mural of the Golden Light Sūtra

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