从法身到肉身——试论初唐佛像样式转变的观念背景  

From the Dharma Body to the Corporeal Body:Rethinking the Development of the Early Tang Style from a Conceptual Perspective

作　　者：吴虹 Wu Hong(School of Philosophy,Fudan University,Shanghai 200433,China)

机构地区：[1]复旦大学哲学学院,上海200433

出　　处：《复旦学报（社会科学版）》2023年第1期126-137,共12页Fudan Journal（Social Sciences）

基　　金：上海市哲学社会科学青年项目“神圣视域下的中国早期佛像研究”(项目批准号:2021EZX002)的阶段性研究成果。

摘　　要：佛教艺术风格的发展并非仅仅是不同审美意识或地域文化交流的结果。作为崇拜的对象,佛像的造型必然还包含、反映着民众对于佛的概念和性格的认识。本文重新梳理南北朝到初唐时期的佛像的风格变化,反思传统“胡化”、“汉化”的解释框架,认为仅从文化交流和竞争的角度出发无法全面理解中国5~7世纪佛像在多种样式之间的发展和变化,进而从佛像观念的角度展开对于初唐佛像样式转变动因的探究。结合对于初唐样式发展的时间梳理,以及造像记、灵验像故事、舍利信仰等现象的讨论,本文认为7世纪末,民众对于佛像的观念发生了重要变化,从南北朝时期被认为是“法身”的应化,到此时变化为“肉身”的佛像。初唐风格的确立和流行,或许可以在这样的从法身到肉身的观念转化的背景下进一步分析和思考。The visual configurations of Buddha images are more than mere results of aesthetic decisions or inter-regional exchanges. As icons of worship, Buddha images must have also encapsualated and embodied people’s conceptions of the Buddha in the visual form. This article re-evaluates the development of the Buddhist artistic style from the fifth to the seventh century and reflects on the traditional narrative structure that locates the evolution of Chinese Buddhist art in the interaction and competition between two opposing influences: the Western and the Sinicizing influences. This paper argues that this traditional bi-polar model is inadequate for a full picture of the complex development of Chinese Buddhist artistic development and proposes to examine the emergence of the early Tang style from a conceptual perspective instead. It re-examines the early Tang statues in Chang’an and Luoyang, and clarifies the timeline of the early Tang style’s emergence and popularization. Analyzing in conjunction with developments in donative inscriptions, tales of miraculous images and relic worship, this paper argues that a significant conceptual change surrounding the notion of Buddha images had taken place in the last quarter of the seventh century. From being perceived as the manifestation of the dharma body in the Northern and Southern Dynasties, Buddha images began to be seen as possessing increasingly corporeal bodies. It was accompanying this conceptual change that the fleshy corporeal style of the Early Tang Buddhist art finally emerged triumphant.

关 键 词：法身 肉身 初唐风格 佛教艺术 

分 类 号：K879.3[历史地理—考古学及博物馆学] J315[历史地理—历史学] K242.1[艺术—美术]