唐宋誌公神異傳說與中日十一面、十二面觀音信仰

Mysterious Legends of the Monk Baozhi in the Tang and Song Dynasties and the Worship of Eleven- and Twelve-Headed Guanyin in China and Japan

敦煌文獻中與寶誌有關的寫本、壁畫，有二種類型：一是S.1624、P.3727、S.5600 三寫本中敘述寶誌剺面示現觀音相的故事，另一是S.3177、P.3641 及莫高窟第395 窟甬道南壁有寶誌像，均書寫有〈梁武帝問志公和尚如何修道〉，它們反映的應都是十世紀敦煌的信仰文化。又綜觀中、日各式典籍文獻有關寶誌和尚剺面示現觀音相的傳說，發現存在著顧頡剛所說「層累地造成」的現象。而十二面觀音一開始或附屬於十一面觀音，發展到十世紀，它應已有獨立的信仰體系，且刻意與寶誌剺面化現的故事相結合。

Dunhuang manuscripts and frescos relating to the Buddhist monk Baozhi寶誌 can be divided into two types : those in the first category relate to thestory of Baozhi tearing open his face to reveal the divine face of Guanyin, asdescribed in S.1624, P.3727, S.5600 ; the other category contains depictionsof Baozhi in S.3177, P.3641 and on the south wall of the corridor of Mogaocave 莫高窟 no. 395. All these depictions feature the description“梁武帝問志公和尚如何修道”(Emperor Wu of Liang asks the monk Zhigong [Baozhi]how to practice the Dharma), and likely reflect the culture of religious belief intenth-century Dunhuang.This article also comprehensively surveys ancient Chinese and Japanesebooks and documents relating to the legend of Baozhi ripping open his face. Itidentifies a phenomenon in these texts described by Gu Jiegang as “cumulativecreation”層累地造成.Twelve-headed Guanyin was probably related to Eleven-headed Guanyinoriginally, but by the tenth century had already developed its own independentbelief system, and had been purposely integrated with the story of Baozhitearing open his face to reveal Guanyin beneath.