摘要
目前寻得的中国材料显示,根据《圣曜母陀罗尼》及相关仪轨创作的曼荼罗出现在12-13世纪,而星曜佛母形象则至迟出现在14世纪上半叶,尚存于15世纪上半叶西藏江孜白居寺祖拉康与吉祥多门塔绘塑等作品中。图像分属两个体系,可追溯到不同的传承,在西藏还出现新的面貌。星曜佛母法事的根基在于诵咒供养诸曜,祈世寿平安。该咒常与数种陀罗尼合抄,而作为陀罗尼化身的星曜佛母则因此与其他同样职司护佑的女神形成多种组合。继续往前追溯,在更早的印度文化中或可发现其原型;而向后发展,她与中国内地崇奉的斗母又有所牵连。其创造与改造的历程,是当时神系演化的一个缩影。
As is documented in the data gathered in China so far,the mandala based on āryagrahamātrka-dhāranī(Shèng Yào Mǔ Tuó Luó Ní in Chinese pinyin) and the relevant rituals was born in the 12^(th)-13^(th) centuries,whereas Grahamātrkā(Xīng Yào fó Mǔ in Chinese pinyin,gZa’ yum in Tibetan) image did not come out till the first half of the 14th century at the latest which remain appreciated in the artistic murals and clay statues of the first half of the 15th century in the Tsuglagkhang of Pelkhor Ch?de Monastery in Gyantse,TAR and the adjoining Great Kumbum Stūpa.The above images derive from two systems of lineages,with a new style of iconographic image created in Tibet also.Grahamātrkā,probably originating from the earlier Indian culture and developing sort of ties with Dumu belief popular among the inland China,performs service as the embodiment of Dharani reciting mantras mixed with multi-Dharani incantation,offering deities and praying for their health and longevity,which therefore conducts Buddhist ceremony in many forms together with the goddesses of blessing.The creation and transformation of Grahamātrkā image demonstrates in miniature the evolution of the Buddhist Pantheon in history.
出处
《故宫博物院院刊》
CSSCI
北大核心
2021年第1期52-67,110,共17页
Palace Museum Journal
基金
中国社会科学院基础学者研究项目“朝圣与巡礼——藏传佛教美术中的圣地史迹图像”(项目编号:XJ2020009)
中国社科院A类创新课题“中华民族传统文化创造性转化和创新性发展研究”(2018MZSCA001)的阶段性研究成果。
关键词
星曜佛母
星曜曼荼罗
大明母
星学
文化交流
Grahamātrkā
astral mandala
Māhavidyā(Tib.Rig pa chen mo)
astrology
cultural exchanges
