情欲魔女、羅漢聖者－－摩登伽女的形象探論

Femme Fatale and Arhat Arya: An Exploration of the Image of Matangi’s Daughter

摩登伽女與阿難的故事，是佛陀宣講《楞嚴經》的緣起，更是佛陀弟子蒙受「女難」的典型，稱為「摩登伽難」，將摩登伽女視為誘惑修道者的情欲魔女，然而，這段歷程更是摩登伽女成證四果阿羅漢的悟道關鍵，換言之，由摩登伽女立場來看，不是「摩登伽難」，而應是「阿難難」或「摩登迦女悟道記」。本文期望跳出以往的阿難視野，轉以「摩登伽女」為核心，探討摩登伽女在其單獨經典、《楞嚴經》及《楞嚴經》疏論、明清時期文學文化、近代文化界、佛教女修行者等面向，討論她如何被詮釋？強化、轉變的形象為何？形象定型後又有何改變？進而省視其背後的視角，歸納其形象詮釋的二大路徑：主動情欲、速證果位，以及由此衍生的可能趨向，並期待擴展出新的空間與視野。

The story of Matangi’s daughter and Ananda is the source of the Surangama Sutra and the model example of the “ordeals with females” suffered by Buddhist disciples. In the “ordeal with Matangi’s daughter,” Matangi’s daughter is seen as a femme fatale who tries to seduce disciples. This image of her projects the conflict between discipline and desires and the tension between male disciples and women. Thus, in the realm of religion she becomes a warning against lust, and in the realm of the secular, a splendid topic for literature and theater. However, this course of events is a key test of Ananda’s discipline, and critical to the girl’s awakening to the truth and attainment of arhathood. In other words, from her perspective what the account depicts is her ordeal with Ananda and her awakening to the truth rather than Ananda’s ordeal with her. Accordingly, this study explores the images of Matangi’s daughter in the Matangi Sutra and Surangama Sutra and their interpretations, in Ming and Qing dynasty literature and culture, in modern culture and as a female Buddhist disciple, from the female perspective (Matangi’s daughter’s point of view) rather than the male perspective (Ananda’s view) as previously. Through the media of the classics, discourses, literature, theatre, music, images, poetry and popular phrases, the following issues are discussed: How has Matangi’s daughter been interpreted? What was the original image of her? In what ways has this image been enhanced and transformed? How has this image changed since it was first established? The perspectives behind the preceding issues are carefully examined and summarized in two ways in which her image has been interpreted: as someone who is actively lusting after Ananda, and as someone who quickly attains arhathood; possible trends extending from these interpretations are presented, hopefully opening up new possibilities for interpreting modern Buddhist women.