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| The Legacy of True Image: The Mañjuśrī Statues at Zhenrong yuan 眞容院 and Shuxiang Si 殊像寺 of Mount Wutai=真容的遺產：五臺山殊像寺與真容院的文殊造像 | ||
| 作者 | Choi, Sun-ah (著)=崔善娥 (au.) |
|---|---|
| 出處題名 | 一山而五頂：多學科、跨方域、多文化視野中的五臺信仰研究國際學術研討會=An International Conference The Mountain of Five Plateaus： Studies of The Wutai Cult in Multidisciplinary and Transborder/Cultural Approaches |
| 出版日期 | 2015.07 |
| 出版者 | 山西省佛教協會 |
| 出版地 | 山西, 中國 [Shanxi, China] |
| 資料類型 | 會議論文=Proceeding Article |
| 使用語言 | 英文=English |
| 附註項 | 主辦方: Buddhist association of Shanxi Province 山西省佛教協會 作者單位：Myongji University, Seoul 韓國首爾明知大學 |
| 摘要 | Between 1774 and 1776, the Qianlong emperor commissioned the building of a Buddhist monastery named Shuxiang si at the outskirt of the Summer Palace in Chengde, together with a gigantic statue of the bodhisattva Mañjuśrī. The name of the temple and the statue enshrined in it were unmistakably derived from, and modeled after, the original Shuxiang si, one of the Han Chinese Buddhist temples at Mount Wutai. Amongst the many Buddhist temples at the mountain, why did Qianlong choose Shuxiang si to transport and translate the sacredness of Mount Wutai to Chengde? Why, for instance, didn’t he choose Pusa ding, which was the focus of imperial patronage since the Tang dynasty and served as the centerpiece of Qing imperial patronage on the mountain? Beginning with this inquiry, this paper traces the ways in which a sculptural image of the bodhisattva Mañjuśrī, which was once enshrined at the Hall of the True Visage (zhenrong yuan 眞容院) at Mount Wutai, became the prime object in the cult of the mountain during the medieval period and remain as the ineffaceable legacy until the Qing dynasty. In the first part of the paper, I trace two historical trajectories related to the cult of the statue. First, I examine the cultural process through which the icon became the central focus in the cult of Mount Wutai. Located in northeastern China, Mount Wutai has been believed as the abode of the bodhisattva Mañjuśrī, attracting a number of pilgrims who expected to witness miraculous signs of the deity, including the manifestation of the bodhisattva in his flesh form. Through a comparative reading of various textual sources ranging from mountain monographs to pilgrims’ testimonies, I highlight the shift in the pattern of touring the mountain, from wandering and wondering in search for fleeting visions of the deity to the worship of a particular icon, which was named “zhenrong” and sanctified by the legend on its miraculous birth as the materialized vision of the bodhisattva Mañjuśrī. Second, I relate the newly arisen cult of the bodhisattva statue at Mount Wutai to the widely-spread practice of translating the sacred space out of its cultic center. Among various examples that translated and represented the cult of the mountain, I concentrate on the tenth-century visual materials remaining at the Mogao Grotto in Dunhuang. In particular, Cave 61 serves as the centerpiece in this investigation, with a focus on the relationship between the well-known panoramic depiction of Mount Wutai rendered on the rear wall and a statue of the bodhisattva Mañjuśrī which once stood on the altar. By reconstructing the link between the now-missing, thus hitherto-neglected bodhisattva statue in the cave and the centrality of the zhenrong icon at Mt. Wutai, I argue that Cave 61 epitomizes the critical moment in the cultic center, when the ontological status of vision and image was conflated. In the second part of the paper, I return to the initial inquiry: the reason why Qianlong choose Shuxiang si, and the mode in which he revisited, replicated, and reproduced so-called “true images” revered in traditional China including the true image enshrined at Shuxiang si of Mount Wutai. With a particular focus on the notion of zhen眞, this paper highlights the legacy of the true image not only in context of the cult of Mount Wutai, but also in history of Chinese Buddhist visual culture in general. 1774至1776年間，乾隆皇帝在承德避暑山莊近郊出資建造了一座名為殊像寺的寺廟和一尊巨型文殊菩薩造像。該廟名稱及其中供奉的造像，無疑起源於並募仿了五臺山漢傳佛教寺廟之一的殊像寺。在五臺山眾多寺廟中，為何乾隆唯獨選擇以殊像寺為載體，把五臺山的神聖性輸送並轉化到承德?例如，他為什麼不選擇自唐代以來一直是皇家寵遇焦點、並在清代成為五臺山皇家佈施中心的菩薩頂呢？以此問題出發點，本文追溯曾經供奉于五臺山真容院大殿的一尊文殊菩薩雕像，如何在中古時期成為五臺山佛教信仰的首要對象，並直至清代仍然保持其地位。 在本文第一部分，我追溯了與文殊造像信仰有關的兩個歷史過程。首先，我考察了該造像成為五臺山佛教信仰中心的文化過程。五臺山地處中國東北部，據信為文殊菩薩道場，因此吸引了眾多希望見證文殊種種神跡、包括其肉身顯現的朝聖者。通過對從五臺山山志到朝聖者證言等各種文本資料的比較，我凸現了參訪五臺山模式的轉變，即從四處遊蕩尋找菩薩一閃即逝的身影到崇拜一尊特定的、被稱為“真容”的造像—該像所以得到認可，據傳是因它具像化了文殊菩薩形象。其次，我把新出現的五臺山文殊菩薩造像信仰，與把神聖空間從信仰中心轉移出來這一普遍的實踐聯繫了起來。在關於轉化及再現五臺山佛教信仰的種類繁多的例子裡，我著力討 |
| 點閱次數 | 261 |
| 建檔日期 | 2020.10.16 |
| 更新日期 | 2020.10.28 |
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