摘要
东晋十六国南北朝时期,此前流传范围有限的佛教,趁着频繁的战乱和人口迁徙,急速地传播和壮大起来,形成了巨大的声势,不仅取得上层统治者的大力支持,也更为广泛地深入普通民众中去。佛教由此在中国真正地扎下根来,加速了“中国化”进程,逐渐成为中华文明的重要组成部分。从北方地区的情形看,十六国时期的长安佛教、凉州佛教,为北魏平城佛教的发展奠定了基础。
The Buddhist factors of the tombs in Pingcheng of the Northern Wei Dynasty experienced three stages of development and evolution,and its ups and downs reflected that the Buddhism in Pingcheng was directly controlled and intervened by the imperial power.In the first stage,during the period from Emperor Daowudi to Emperor Taiwudi,the Buddhist factors in pingcheng tombs grew from nothing.During the reign of Emperor Daowudi and Emperor Ming Yuan,the Buddhist factors did not penetrate into tombs.In the frst year of Taiyan(435)of Emperor Taiwu,the painted lacquer coffin of the Northern Wei Dynasty in Shaling was the first time to see buddhist elements characterized by continuous peach honeysuckle patterns.From then on to Taiping Zhenjun period(440-451),Buddhist elements appeared in the tomb murals or lacquered wood cofins in the form of honeysuckle patterns,lotus patterns,Buddhist figures,etc.,which have become a regular part of the new pattern of tomb images in Pingcheng.Honeysuckle lines are the most important.Compared with the silence of the previous 30 to 40 years,the development of Buddhist factors was quite fast.But this process from nothing to something was actually accompanied by the violent turbulence of Pingcheng Buddhism.In the second stage,from Emperor Wencheng to the early period of Emperor Xiaowen,the Buddhist factors in Pingcheng tombs were the most prosperous.Buddhist factors covered and influenced every aspect of the tomb,appearing in the tomb murals,various funerary utensils and their accessories,various types of pottery,as well as pottery horses,stone lamps,copper ornaments,lacquer plates and other relics of various materials.Compared with the previous stage,the tomb murals were reduced and tended to be simplified,so the images of funerary utensils and pottery mold decoration became the main way of expression of Buddhist factors.The specific manifestations of Buddhist factors were still honeysuckle patterns,lotus patterns and Buddhist figures.The most common honeysuckle lines were independent honeysuckle lines,continuous wavy honeysuckle lines,continuous peach honeysuckle lines,etc.Independent honeysuckle lines appeared in this stage and were relatively common.The lotus patterns included the lotus with honeysuckle leaves,group lotus,downward lotus pattern,and upward lotus pattern,which were obviously richer and more varied than the previous stage.Buddhist figures included the boys borned in transformations,Lotus Buddha,and groups of Buddha,Bodhisattva,apsaras and benefactors.In addition to lower-status Buddhist deities,the main Buddha also appeared.The greatest characteristic of Pingcheng Buddhism at this stage was that Buddhist power compromised to imperial power and pursued the unity of imperial power and Buddhist power.The emperor vigorously promoted Buddhism,and the whole Pingcheng society were immersed in them,even there were Buddhist elements everywhere in the tombs.In the third stage,during the middle and late period of Emperor Xiaowen,as the tombs of pingcheng turned to simple burial,the presentations of Buddhist factors also changed correspondingly,showing a general decline.Buddhist factors declined in tomb murals and various facilities and relics.The murals on the four walls of the tomb are more simplified.The main images were building structure drawings which become the surface feature of dividing the tomb space.There were a few honeysuckle pattern and lotus pattern paintings dotted among them.The character images originally drawn on the four walls of the tomb were transferred to the stone door frame,murals of the door frame,two walls of the corridor,as well as the funerary utensils and their accessories,in the form of painting and carving.Instead of the secular figures,most of them were Buddhist gods such as Lishi God,Guardian God,Acting Bodhisattva,boys borned in transformations and Apsaras.On stone funerary utensils and their accessories,Buddhist deities or gods and animals have replaced or appeared in honeysuckle patterns,inhibiting the honeysuckle patterm and becoming the theme of the picture.The number of pottery decorated with honeysuckle or lotus patterns has greatly decreased.At the same time,another trend was the emergence of new Buddhist elements on the body of the tomb architecture.A buddhist temple was added to the ground structure of the royal cemetery.Some tombs were decorated with buddhist elements on stone doors or tomb bricks.At this stage,the two trends in the evolution of Buddhist factors in tombs were influenced by the tomb system and buddhist policy,and were also the direct results of imperial power.
作者
倪润安
Ni Run-An(School of Archaeology and Museology,Peking University)
出处
《丝绸之路研究集刊》
2022年第1期113-175,489-491,共66页
Journal of the Silk Road Studies
