| 摘要: | 中國漫長的歷史發展中，宗教、審美與藝術是以不同性質的特殊意識型態相互交融持續至今。世界三大宗教─基督教、回教與佛教，影響中國各層面最深廣的應屬佛教，然而佛教始源並非發展自中國，奇特的是幾近斷滅於原始的發展國度後，卻因其教義流佈而在中國生根茁壯，成為世界三大宗教之一。然而近幾年來研究佛學與文學藝術關係的著作有逐漸多起之勢，但研究佛教與美學相關之著作尚微，職是之故，亦是為目的之所在，希望能透過「觀音菩薩」與「美學」之研究，明瞭作為一個龐大的佛教精神體系，其複雜及深刻之處。
佛教自印度東傳後延續千年，再於東土掀起一股風潮，且更盛於印度之發源地。佛教能從古亙今，除其教義深具哲理而得以深化廣傳之外，在一定意義上，對其教義的弘傳，則藉助了藝術創作中的各種形式造型，以及因佛教經典中載錄各種造像功德與福報，使得「佛菩薩」形體得以實現於人世間，而與民同在。「觀音」為「觀音菩薩」之簡稱，為佛教中重要的佛菩薩之一，亦被稱為與中國最為有緣的「菩薩」。佛教大乘經典中記載頗多，其代表著慈悲救度的智慧與施無畏精神，相關重要經典有《大悲蓮華經》、《妙法蓮華經》、《大方廣佛華嚴經》、《大佛頂首楞嚴經》、《大乘莊嚴寶王經》、《佛說觀無量壽佛經》、《般若波羅密多心經》、《大悲心陀羅尼經》及《觀世音菩薩授記經》…等，皆有其大慈悲行深之旨趣說明。其中與觀音造像有直接關係的經典為《妙法蓮華經‧普門品》中的三十三化身與《大佛頂首楞嚴經》的三十二應身最為深遠；另《大佛頂首楞嚴經》與《大悲心陀羅尼經》則為千臂千眼觀音應化身之依據。關於觀音造像所依據之經典進一步考證與論述，「觀音菩薩」的形像之豐、之美，在佛國世界中可謂首屈一指。因此，本論文即以研究「觀音菩薩」如何以佛性之體，成就為四位一體之「美神」？並探究其佛性與哲學中的藝術意涵？再則，因中國歷史悠久，各時代有各時代的思維與生活模式，影響所及，「觀音造像」的形式與演變，便成為時代的獨特凸鏡。其中，中國思想的發端起始於先秦時期；人們精神境界的提升則是在魏晉時期，此時同時也是對美的嗜求與品評的關鍵年代，加上佛教因道家這股向上的力量乘風崛起，益發使得宗教與藝術在中國因緣際會之下揉合，而自成一股涓流綿瀉而下。「形神」問題在此是哲學的問題、是藝術的問題、是宗教的問題，更是人生的問題，此是「觀音菩薩」真、善、美、聖四位一體之「美神」全方位的經歷時、空而成就的不思議事。
本論文以唐、宋同處於古典藝術美學的兩大高峰時代，進行美學思維之分析與菩薩造型藝術之比對，分別擇選具兩代代表性之觀音石刻造像－唐代龍門石窟與宋代大足石刻之觀音造型為比較對象。故觀音菩薩造像之審美，鎖定唐、宋兩代時期之石刻為論題範圍，並探究其所蘊藏的形神美觀與宗教、藝術、心理等方方面面攸關於「人」的重要議題。
In China’s long historical tradition, religion, aesthetics, and art, with different ideologies,
have been intermingling with one another. Among three major religions in the
world—Christianity, Islam, and Buddhism, it is Buddhism that has most influenced every
walk of China. Nevertheless, Buddhism did not originate from China. It has grown and
blossomed in China although, very strangely, almost got extinct in its birth nation. In recent
years, despite the fact that there has been a rise in the amount of studies on the relations
between literature, art, and Buddhism, those exploring the relations between Buddhism and
aesthetics remain scarce. As a result, this paper investigates both Avalokitesvara and
aesthetics in order that the complexity and profoundness of a giant Buddhist spiritual system
can be well understood.
Guanyin, shortened from Avalokitesvara, is one of the most important gods in
Buddhism. Guanyin is also regarded as the most favored PuSa (Bodhisatta) by Chinese.
Avalokitesvara, the Sanskrit name of Guanyin, rendered different translations and titles at
different periods when it was introduced into China, such as GwanShr Yin (an old translation)
and Guan ZiZai (a new translation). In addition, both Indian and Chinese monks also
translated quite a few synonymic names. Finally, from the perspectives of mediation and
virtue, there are also a lot of variations. In sum, PuSa, shortened from Bodhisatta, coordinates
two meanings: Bodih, equal to wisdom, implies revelation; Satta refers to compassion and
believers. For instance, in Master Kuiji’sFahuayanjiang, Bodhisatta was literally translated
to be revelation with compassion.
After being spread eastward, Buddhism initiated a nouvelle vogue in China, leading to a
greater impact that has maintained over one thousand years. It is well known that the deep
philosophy of Buddhism enables its dissemination throughout ages. It is even better known
that the different art forms by whichGuanyin has been embodied help the idea of
Avalokitesvara materialize in humans’ world. In Mahayana Sutras classics, Avalokitesvara
appears very often; she symbolizes merciful wisdom and sacrifices without fear. Among
these classics, the iconography of Avalokitesvara directly appears as thirty-three avatarsin
“The Universal Door” of The Lotus Sutra and thirty-two ones in The Shurangama Sutra, both
of which render most profound influences. Furthermore, the image of a Guanyin avatar with
thousand arms and thousand eyes comes from both The Shurangama Sutraand Great
Compassion Dharani. It is obvious that studies on Guanyin’s iconography are most focused
on the corpulence and beauty of her figure. Consequently, this paper discusses
howAvalokitesvara, an avatar of a divine god, transforms into a god of beauty. The artistic
implications of divinity and philosophy inAvalokitesvarawill also be examined.
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Since there are respectively different mindsets and living patterns in China’s long
history, different styles and metamorphoses of Guanyin’s iconography exhibit as a mirror of
each historic period. As we all know, Chinese thoughts originated from the Pre-Qin Period;
subsequently, the Wei-Jin Period saw the elevation of people’s spirituality, thus resulting in a
critical period in which people’s quests and evaluations for beauty enhanced. Moreover, the
rise of Daoism also intensified the interaction between religion and art. Hence the unity of
form and spirit has become a question of philosophy, of art, of religion, and even of life—this
has rightly been the remarkably unprecedented achievement of Avalokitesvara, an embodied
god of beauty who unifies truth, virtue, beauty, as well as divinity.
Under circumstances that the Tang and Sung dynasties represent the peaks of China’s
classical art and aesthetics, this paper analyzes aesthetic thoughts and artistic forms of
Avalokitesvara. To give examples, Guanyin’s carvings in the Longmen Grottoes (Tang
Dynasty) and in the Dazu Rock Carvings are chosen. More specifically, the aesthetics of
Guanyin’s representations will be discussed according to stone carvings in both Tang and
Sung dynasties. While exploring how Guanyin’s iconography has procured religious, artistic,
and psychological implications, this paper also addresses the same aspects how a man
matters. |
