竹林、飛瀑與巖窟——「大德寺五百羅漢圖」中的聖寺與羅漢洞

Bamboo Groves, Waterfalls and Mountain Caves — Sacred Monasteries and Arhat Caves as Portrayed in the “Painting of the Five Hundred Arhats at the Monastery of Immense Virtue”

本文從兩個視角討論「大德寺五百羅漢圖」，一是東晉以降的聖寺傳聞：百幅的「大德寺五百羅漢圖」中，有一再出現的元素：岩石、窟洞、雲氣、飛瀑、竹林，以及在巖窟中建築精妙的寺院，凡此都是受到東晉以降聖寺傳聞的影響，暗示此係羅漢所居的「聖域」或「聖寺」。二是羅漢洞的信仰形式，本文以五代迄宋的石刻碑記為主要資料，探討當時人們在山林郊野的巖窟供奉羅漢的「羅漢洞」，以及在山洞內建造的寺院，此圖有十幅即描繪羅漢洞寺院。宋人除了在天然洞窟供奉羅漢之外，也在平地或都市的寺院殿堂中，以土石「平地起山」，建造人工的「羅漢洞」。又，在東晉迄北朝的諸多聖寺傳聞中，以東晉竺曇猷入天台山神僧精舍、以及北齊釋圓通往訪鼓山竹林聖寺兩則，對後世的影響最大，其中提及凡僧往訪聖寺中所見的午齋、喫茶、講經論義等情景，也都出現在此圖中。此外，本文也討論了此圖頻繁出現的童子和蠻奴。

This article considers the significance of the “Painting of the Five Hundred Arhats at the Monastery of Immense Virtue” from two perspectives. The first concerns legends about sacred monasteries dating back to the Eastern Jin dynasty (317-420). In the “Painting,” which consists of 100 scenes, there are six themes that constantly appear: mountain crags, caves, cloud formations, waterfalls, bamboo groves, and an exquisite monastery situated inside a cave. All of these themes were influenced by legends that spread beginning during the Eastern Jin that described such sites as “sacred monasteries” (shengsi 聖寺). The second treats the formation of arhat cults, using five stele inscriptions dating to the Five Dynasties (907-960) and Song dynasty (960-1279) to describe how people would worship arhats in mountain caves containing Buddhist monasteries, practices portrayed in 10 scenes from the “Painting.” By the Song dynasty, people would build artificial caves in cities or plains areas and worship arhats there. In addition, this article examines scenes in the “Painting” that show eminent monks visiting arhat caves as well as their experiences with vegetarian meals, drinking tea, and scripture chanting. One other issue explored in this article is portrayals of youths (tongzi 童子) and barbarian slaves (mannu 蠻奴).