摘要
白伞盖母具有多种化身,对应不同的文本描述,进而可追溯到不同的宗教修行实践。近年来新材料的陆续发现或公布,不断推动着白伞盖信仰的进一步考察。八思巴在《白伞盖母成就陀罗尼念诵法》(1275)中描述了观想千面千手百千俱胝眼、三面六臂、一面二臂共计三种形象,并归结于观修的[广]、中、略。然而诸化身之间并非简单的省略或增生关系:千面者植根于白伞盖经的简单描述,三面者与一面二臂者则别有渊源,前者部分与无能胜母融通,后者则是伞盖的人格化。11-15世纪跨地区、跨人群的文化交流使得佛教艺术呈现出繁荣景象,神系的重构相当普遍且各具特点。不同源头的神灵被聚合到一个名号之下,便是本文总结出的规律之一。
Sitātapatrā(Tib. gDugs dkar, white umbrella godless in English) of any forms of nirmanakaya in the versions of texts is based on different religious practices. The newly discovered and issued materials are used to make further study of Sitātapatra. Phagpa visualized in The Rites of Chanting Sutras of White Umbrella Goddess Becoming Dharani-bodhisattva(1275) three figures of Sitātapatrā including the first one with one face and two arms, the second one with three faces and six arms, and the third one with thousand faces, thousand hands and hundred thousand eyes, each of which represents the levels of self-cultivation by contemplating and mentally entering into the truth from preliminary, intermediate to the vast beyond measures. The thousand-faced Sitātapatrā sources from the sutra of the white umbrella. The three-faced is partly mixed with Aparājitā(Tib. Mi thub ma) and the one-faced is the incarnation of white canopy. It is summarized in the paper that the cross cultural exchanges among the peoples of different regions during the 11^(th) to 15^(th) centuries was followed by richness and prosperity of the Buddhist art and the recreation of the Buddhist figures with unique features, but they share one title.
出处
《故宫博物院院刊》
CSSCI
北大核心
2016年第5期6-22,共17页
Palace Museum Journal
基金
"中国社会科学院基础研究学者"资助
