涅槃變圖像的發展——從西魏麥積山石窟到初唐敦煌莫高窟

The Development of the Nirvana Transformation Image: From the Western Wei Grotto at Maijishan to the Early Tang Mogao Grotto at Dunhuang

本文討論從六世紀中葉西魏麥積山127窟，至七世紀末初唐武周時期敦煌莫高窟332窟涅槃變的發展。唐代涅槃變發展進入高峰，雖然主要依據涅槃經的要義，但實際圖繪內容卻隨著不同時間翻譯或流通的相關經典而繁衍，甚至通俗化，其文本已融合多部相關經典。從圖像內容來看，有關涅槃主題的教義在推廣演繹過程中，也隨著政治社會環境變遷而不斷地改變，其表現內容與手法既有傳承延續，也會隨著時代的巨變而產生重要的質變。莫高窟332窟南壁涅槃變內容豐富、敘述具有戲劇性變化，是現存最重要也可能是武周期唯一的壁畫代表作。此涅槃變新增佛母摩耶夫人，形象顯著而且連續出現，很難否認與當時掌權的則天武后有所關連。

This paper discusses the development of images representing the “Nirvana Transformation” from the Western Wei grotto 127 at Maijishan (middle-sixth century) to the early Tang, or Wu Zetian Zhou period, grotto 332 at Dunhuang (late-seventh century). The Tang period represents the apex of development for the “Nirvana Transformation” image. Although the basis for such depictions drew mainly from descriptions in the Nirvana Sutra (Mahāparinirvāṇa Sūtra), reproductions actually varied considerably over time, even becoming vulgarized, following different translations and related scriptures. In the process of explication, the elements of each image that relate to teachings concerning nirvana were also constantly changing to fit the social and political environment of the times. Form and substance were sometimes preserved, but also underwent important and fundamental changes to match vicissitudes from era to era. The “Nirvana Transformation” image on the south wall of Mogao grotto 332 is rich in content and dramatic in presentation. It is the most important and perhaps the only representative wall painting from the Wu Zetian Zhou period. A distinguishing feature of the image is the addition of Māyā, the Buddha’s mother; her repetitive depiction in the image is quite dominant and suggests a connection with Empress Wu Zetian, who at the time held power.