中國與日本佛像納入品之比較：以清涼寺與西大寺釋迦像為例

A Comparison of the Chinese and Japanese Deposit within Buddhist Statues: With the Seiryōji Shaka and the Saidaiji Shaka Statues as Examples

清涼寺釋迦像是平安時代入宋日本僧人奝然，於西元985年，委託台州佛工製作的「優填王式」佛像，次年帶回日本。由於是一尊有明確紀年且傳承經歷清楚的北宋木雕像，因此在美術史及佛教史研究上都有非常重要的地位。西大寺釋迦像則是鎌倉時代奈良地區名僧叡尊，於西元1249年，指示弟子及工匠親至清涼寺模刻而成的佛像。兩尊釋迦像除外型極為相似外，內部也都有大量的納入品；不過，納入品內容卻相當不同。清涼寺像納入品中，最著名的是一組絹製人體器官模型。以布或金屬製成象徵五臟六腑之物，作為佛像納入品的例子，在中國及朝鮮皆可見。但人體臟器的模型，從未在日本納入品中成為主流。就像內納入品而言，與清涼寺釋迦同時期的日本雕像中，未能找到任何能與這件中國雕像相近的例子。事實上，在十世紀或之前的日本雕像中，無論就文獻或實存例來看，有納入品的佛像並不多；像內納入品的作法並不普及。平安後期，也就是十一世紀之後，日本佛像置入納入品的作法漸漸普遍。但平安後期的佛像納入品，種類往往較為單純，數量也不多。直到鎌倉時代的雕像中，才能找到大量且種類繁多的納入品例子。筆者歸納，此時期佛像納入品有三個主要特徵：一是五輪塔作為佛像納入品的新趨勢，二是佛像納入品之品類常有特定的組成方式，三是大量信徒參與的新現象。西大寺釋迦像的納入品，應該被置於鎌倉時代奈良地區的宗教實踐脈絡中來理解，而不是對清涼寺釋迦的單純模仿。換言之，雖然西大寺像是直接模自清涼寺像，在納入品方面，兩像卻分別代表了中國與日本的傳統。

The Seiryōji Shaka (Shakyamuni) statue, made in 985, was commissioned by a famous Japanese monk Chōnen and brought to Japan the year after it was made. Because it is a rare case of extant dated Northern Sung dynasty Buddhist statue, it is significant in both art history and Buddhist history. The Saidaiji Shaka, was a direct copy of the Seiryōji image. Made in 1249, the Saidaiji Shaka was commissioned by the Kamakura-period monk Eison, and it was carved in the site of Seiryōji. The two images are not only very similar in their appearances, they also share the feature that both contain a great amount of deposits. However, the deposited items are quite different. The central item of the Seiryōji deposits is a set of human organs made of silk. To deposit human organs, made of fabric or metal, into Buddhist statues are not uncommon in China and Korea. However, this practice was not in the main stream in Japan. Among the Japanese statues made before or in the tenth century, we do not find any example holding as many items of deposits as the Seiryōji Shaka did. Only after the eleventh century, that is, the later part of the Heian period, it became popular to put deposits into Buddhist statues in Japan. However, it is not until the Kamakura period that we find examples comparable to the Seiryōji Shaka. The Kamakura-period Japanese deposits had three features. First, the five-ring pagoda was often a central item. Second, certain combination was often found in deposits. Third, the preparation of deposits was taken by a great amount of believers. All in all, although the Saidaiji Shaka was a direct copy of the Seiryōji Shaka, in terms of the deposits, the former represents a Japanese tradition, rather than following the Chinese example.