唐僧取经图像研究

【作者】 于硕；

【导师】 谢继胜；

【作者基本信息】 首都师范大学 ， 美术学， 2011， 博士

【摘要】 《西游记》小说以宗教为背景,叙述三位徒弟保护唐僧不畏艰难西天取经的故事。小说问世之前,有玄奘、辩机著《大唐西域记》,记录法师西行求法,又有玄奘弟子所著《大慈恩寺三藏法师传》,更加生动地记述了了法师西行的种种经历,南宋刊刻的《大唐三藏取经诗话》将神魔成分大量加入故事内容,此后又有《唐三藏西天取经》、《西游记平话》、《西游记杂剧》等作品陆续问世。与此同时,唐僧取经图像也出现在寺观壁画、彩塑、石窟艺术中,从现存最早的“唐僧取经图”到清代寺院中的绘有《西游记》故事情节的唐僧取经壁画,图像与故事内容演变相呼应。本文拟从现存图像出发,从西夏“唐僧取经图”入手,逐一分析、考证已发现的唐僧取经图像,试图勾勒出一条唐僧取经图像自身的演变轨迹,并通过对取经图像的对比分析,探讨其在不同时期的不同传播路线。第一章研究对象为西夏敦煌石窟内的“唐僧取经图”,分析图像本身的特征,并作横向比较,讨论“唐僧取经图”出现在西夏《水月观音》壁画中的原因。第二章重点分析元代至元末明初这一时期的唐僧取经图像,包括杭州飞来峰高僧取经组雕,山西稷山青龙寺大雄宝殿唐僧取经拱眼壁画及甘谷华盖寺三眼窟释迦洞唐僧取经图及唐僧取经归来图等作品。对飞来峰的第47龛人物身份进行推证,推测其雕凿时间,分析青龙寺、华盖寺唐僧取经壁画人物特征,求证其绘制时间,结合前辈学者对《唐僧取经图册》内容的研究,从整体上对元代至元末明初时期唐僧取经图像内容的演变进行分析,并将之与西夏“唐僧取经图”相比较,分析其变化与发展,力图揭示取经图像从西北到中原、江南地区的传播及相互联系。第三章分析讨论河西地区三座寺窟中的唐僧取经壁画,笔者发现其内容与明末刊本《李卓吾先生批评西游记》板刻插图极为相似。在具体分析三座寺窟唐僧取经壁画内容的同时,进一步推测其绘制时间,其中民乐童子寺与天祝东大寺的唐僧取经壁画尚无人研究,论文将这三座寺窟视为江南地区唐僧取经图像传入西北的证据,推测其存在自东南向西北逆向传播的路线。第四章讨论清代晚期的唐僧取经图像,包括甘肃庄浪红崖寺、红城感恩寺、敦煌市西云观和敦煌莫高窟上寺内的唐僧取经壁画、彩塑。这四处寺窟的唐僧取经图像尚无前人分析考证,笔者对其内容进行简要分析,并从其绘制的《西游记》情节认为清代晚期唐僧取经图像注重对情节内容的表现,继续受到小说影响,同时佛教目的与意义逐渐被世俗化和大众化了。笔者在分析、论述现存于寺窟中的唐僧取经图像内容的基础上,从总体上观察其图像演变规律。综合比较各个时期不同唐僧取经图像,笔者认为西夏至元代时期存在西北至中原、江南的唐僧取经图像传播路线,并在经历了明朝中期及晚期小说《西游记》的酝酿与成书后,于明清时期呈现出由江南向西北反向传播的路线。更多还原

【Abstract】 Journey to the West tells the story of Tangseng’s adventurous pilgrimage to India for Buddhist scriptures with the protection of his three disciples. Before the novel came into being, Record of Travels to Western Lands(《大唐西域记》)by Xuanzang(玄奘)and Bianji(辩机)recorded Xuanzang’s pilgrimage westward, and Biography of Tripitaka Master(《大慈恩寺三藏法师传》)by Xuanzang’s disciple described vividly his adventure; later, Poetry of Tripitaka Master’s Pilgrimage for Buddhist Scriptures(《大唐三藏取经诗话》) printed during Southern Song Dynasty involved magic elements, and works such as Tripitaka Master’s Pilgrimage for Buddhist Scriptures(《唐三藏西天取经》),Pinghua of Journey to the West(《西游记平话》),Drama of Journey to the West(《西游记杂剧》)followed. At the same time, the images of Tangseng’s pilgrimage appeared in murals, sculptures of temples and grottoes, evolved from the extant earliest Image of Tangseng’s Pilgrimage to the mural of Tangseng’s Pilgrimage indicating the plot of Journey to the West in Qing Dynasty’s temple, which responded to the evolvement of the story. Based on the extant images, this dissertation starts from the Image of Tangseng’s Pilgrimage made during Western Xia, analyzes images of this topic one by one, tries to figure out the evolvement of Image of Tangseng’s Pilgrimage, and study the various communicating routes over time by comparing these images.The first chapter studies the Image of Tangseng’s Pilgrimage of Western Xia found in Dunhuang(敦煌)By analyzing the character of the image and comparing with those of the same time, the reason why the image appeared in the mural of Water-moon Guanyin is discussed.The second chapter focuses on images of this topic made during Yuan Dynasty and the Early Ming Dynasty, which include the group sculptures at Feilai Mount, Hangzhou(杭州飞来峰),the mural at Qinglong Temple, Jishan, Shanxi(山西稷山青龙寺),and the images in Huagai Temple, Gangu((甘谷华盖寺),etc.. In this chapter, the identities of statues and creation time of Niche No.47, Feilai Mount are researched; the figures’characters and creation time of murals of Qinglong Temple and Huagai Temple are analyzed; with the preceding researches on《唐僧取经图册》for reference, the evolvement of contents of the images during this period is studied on the whole; furthermore, in comparison with the image of Western Xia, this chapter tries to discover the images’transmission from Northwest China to Central Plains and South of the River.The third chapter discusses images from two temples and a grotto in Hexi Area. Their contents are very similar to the illustration in Li Zhuowu’s Review on Journey to the West(《李卓吾先生批评西游记》)printed during the Late Ming Dynasty. Time of these murals is speculated, either. Among the murals, those in Tongzi Temple, Minle(民乐童子寺)and Dongda Temple, Tianzhu(天祝东大寺)have never been studied. This research regards the murals in the three spots as the evidence of the image of Tangseng’s pilgrimage communicating from South of the River to Northwest China, speculates a reversed transmission route. The fourth chapter studies the images of Late Qing Dynasty, which include murals and sculptures in Hongya Temple, Zhuanglang(庄浪红崖寺), Ganeng Temple, Hongcheng(红城感恩寺),Xiyun Taoist Temple, Dunhuang(敦煌市西云观)and Upper Temple of Mogao Grotto, Dunhuang(敦煌莫高窟上寺)No researches on the images of Tangseng’s pilgrimage on these spots have ever been done. And this chapter briefly analyzes their contents, and based on the plots from Journey to the West presented in the murals, infers that the images of Late Qing Dynasty emphasize the story, they are influenced by the novel, and the Buddhist meaning is replaced by secular meaning.This dissertation analyzes the extant images of Tangseng’s pilgrimage for Buddhist scriptures in temples and grottoes, explores how the images evolved. By comparing images over time, the conclusion is reached that the image transmitted from Northwest China toward Central Plains and Side of the River during the period from Western Xia to Yuan Dynasty, while transmitted backwards during Ming and Qing dynasties after Journey to the West came into being in Middle and Late Ming Dynasty.更多还原