| 摘要 | 舉世聞名的敦煌莫高窟，創建於366年，後經歷代逐次增建，至八世紀的唐代，已開鑿千餘窟龕，無論壁畫及造像都達到圓熟的階段，表現出唐代恢宏博大的氣魄，在石窟中主要的塑像為佛像、菩薩、佛弟子像、天人像等，而排列在洞窟中的外側者經常是天王力士像，其在洞窟之中主要的職責是護法的身份，是低於佛菩薩的階位，但卻能忠實的表現出真實的人間世界。在數百個現存唐窟之中， 380、313、322、194、264、113、45、46、445、66、319、320、159、205、231、202、92、18、12、285、427、209、384、154、15、237、196、254、435、437、257、206、112等窟的天王力士像，其造像表現出人體肌理起伏，十分寫實碩健，是唐代雕塑藝術的極致。本文為追溯此種造像在造型、題材、風格的源流，以及藝術的成就。第二章先歸納敦煌石窟中的天王力士像在宗教與藝術上的成就，第三章探索天王力士在佛教經典依據，而以印度巴爾胡特佛塔、桑奇佛塔中的藥叉神像浮雕為例。第四章探討漢魏時代的墓室中武士力士造形，第五章舉四至六世紀新疆克孜爾石窟、中亞犍陀羅、大同雲岡石窟、洛陽龍門石窟中的天王力士壁畫及雕像，以比較不同地區天王力士的造型差異與相互影響，並討論其宗教意涵。
The world famous Mogao Caves began construction in 366 A.D. Through expansions in the successive dynasties, over 1,000 caves had been completed up to the Eighth Century Tang Dynasty. In Tang Dynasty, the development of murals and sculptures came to maturity and the grandeur of the Tang style was fully manifested in the arts. The main sculptures in the caves consist of icons of the Buddha, Bodhisattvas, Buddha’s disciples, and devas, while the Vajrapānibalin (worriers) are often the frontline figures lining up in front of the caves. They serve as dharma protectors and are ranked only lower than Buddha and the Bodhisattvas, yet their lower rank allows them to be faithfully reflected as sentient beings in the true world. Among the several hundred surviving Tang caves, Vajrapānibalin in Cave No 380, 313, 322, 194, 264, 113, 45, 46, 445, 66, 319, 320, 159, 205, 231, 202, 92, 18, 12, 285, 427, 209, 384, 154, 15, 237, 196, 254, 435, 437, 257, 206 and 112 contain fine sculptures of high artistic skills, featuring dominating expressions of masculinity and highly expressive muscle structures. They represent the summit of Tang Dynasty’s artistic achievements. This thesis aims to trace the origins of the forms, themes, and styles of the sculptures in Mogao Caves and the artistic achievements they represent. The second chapter contains an analysis of the religious and artistic achievements represented by the Vajrapānibalin sculptures in Mogao Caves. The third chapter explores the origin of Vajrapānibalin in Buddhist sutras with examples of the Yaksa reliefs found in the Bharhut and Sanchi Pergolas in India. Chapter four explores the styles of Marshall Vajrapānibalin found in the tombs of Han and Wei Dynasties. Chapter five contains a comparison on the murals and sculptures found in the period between the fourth and sixth century in the Kizil Caves (Xinjiang), Gandhara (Central Asia), the Yungang Caves (Datong, China), and the Longmen Caves (Luoyang, China), including a comparison on the styles and exploration on the mutual influences and religious representations. |
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