南宋《法華經》扉畫的敘事、構圖及稿本研究

Abstract

現存不少南宋初年《法華經》在七卷經文卷首的部分都配有精美扉畫，現藏國立故宮博物院的王儀本、秦孟邊仁本正是其中的代表。前代學者注意到這類扉畫作品不僅在中國本土廣泛傳播，還影響周邊國家《法華經》扉畫的製作，在學術史上具有重要地位。因此，本文嘗試在過往圖像學研究的基礎上，從這類扉畫的圖像、邊框、形制等角度進行全方位討論，從而為佛教經典圖繪研究填補一塊厚實的拼圖。論文首先就南宋初年多幅形式《法華經》扉畫的每一景故事進行細膩分析，解讀其敘事手法、整體構圖、位置分布。接著，梳理《法華經》扉畫整體構圖發展脈絡時，注意到在扉畫與壁畫上的法華美術圖像存在一定程度相似性。為了進一步挖掘原因，論文最後以壁畫稿本為切入點，討論法華美術乃至佛教美術的圖像製作。推測壁畫、扉畫、版畫以及某些建築構件裝飾畫並非完全獨立的藝術形式，一方面壁畫稿本可以應用在其他藝術媒材，另一方面壁畫畫家可能兼具繪稿者身分，直接參與到其他藝術媒材的製作中。關於圖像跨媒材傳播的討論，或許有助於未來進一步摸索宋代佛教美術圖像的製作機制。Many extant editions of the Lotus Sutra from the early Southern Song Dynasty have exquisite frontispieces at the beginning of the seven-volume scripture. The WangYi edition and the QinMeng BianRen edition, housed in the National Palace Museum, are representative examples of this style of frontispiece from the early Southern Song Dynasty. Scholars pointed out the widespread dissemination of these frontispiece artworks not only within China but also in neighboring countries, holding significant importance in academic history. This paper aims to establish a comprehensive understanding of the frontispieces of the Lotus Sutra from the early Southern Song Dynasty, thus filling a piece of the puzzle of Buddhist scripture illustration.The paper begins by conducting a detailed analysis of each scene and story depicted in the frontispieces of the Lotus Sutra from the early Southern Song Dynasty. While tracing the development of the Lotus Sutra frontispieces, it is observed that there are several similarity between frontispieces and murals. To further uncover reasons for these similarities, the paper focuses on the production of Lotus Sutra art and even Buddhist art images. Murals, frontispieces, woodcuts, and certain architectural decorative paintings may not entirely independent forms of art. On one hand, mural sketches can be applied to other forms of artistic media. On the other hand, mural painters may simultaneously act as drafters, directly participating in the production of various artistic media. Discussing the cross-media transmission of imagery may contribute to a deeper understanding of the production mechanisms behind Buddhist art imagery during the Song Dynasty.