法隆寺金堂壁画四佛考——兼论初唐法相宗在日本的流传  

On the Origin of the Four Buddhas in the KondōMural of Hōryū-ji with a Side Discussion on the Transmission of Xuanzang’s Buddhist Lineage in Japan

作　　者：孙语崎 Sun Yuqi

机构地区：[1]日本庆应义塾大学

出　　处：《美术观察》2025年第1期63-66,共4页Art Observation

摘　　要：作为日本现存最早的佛教壁画,法隆寺金堂壁画不但是日本佛教美术的重要代表,也是反映我国佛教艺术对外传播情况的重要实物。而壁画中四大壁主尊四佛的尊格及排列方式也一直是学界争论的焦点。通过比对金堂四佛与西安大雁塔门楣四佛及《首楞严经》道场四佛等实例中所见四佛组合的排列顺序可以发现:区别于一般的四方四佛,金堂四佛应当采用了一种将四佛按照各自时空属性分类并依次排列的组合方式。由于这一组合方式常见于初唐时期与印度相关的实例中,因此,金堂四佛或与当时在华流行的印度经典、粉本存在关联。同时,考虑到7世纪末期日本社会向佛教国家转变过程中玄奘弟子所起到的重要作用,金堂四佛的创作很可能与玄奘法脉在日本的流传有关。As the earliest existing Buddhist mural in Japan,the mural in the Kondōof Hōryū-ji is not only an important representative of Japanese Buddhist art but also a significant artifact of Japan’s Buddhist art outreach.The status and arrangement of the four main Buddha figures in the mural have been a focal point of debate in academic circles.By comparing the arrangement of the four Buddhas in the Kondōwith those on the lintel of the Dayan Pagoda in Xi’an and the four Buddhas in the Kṣetra(Pure Land)from theŚūraṅgama Sūtra,the author has discovered that,unlike the typical arrangement of the four-direction Buddhas,the Kondō’s four Buddhas are likely arranged according to each Buddha’s temporal and spatial attributes.This arrangement is commonly seen in early Tang period examples related to India,leading to the speculation that the combination of the Kondō’s four Buddhas may be associated with Indian scriptures and models prevalent in China at that time.Additionally,considering the significant role played by Xuanzang’s disciples during the transition of Japanese society to a Buddhist nation in the late 7th century,the creation of the Kondō's four Buddhas was likely influenced by the transmission of Xuanzang’s Buddhist lineage in Japan.

关 键 词：法隆寺 金堂壁画 大雁塔 四佛 

分 类 号：B94[哲学宗教—宗教学]