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來自美國、匈牙利、日本、大陸、台灣等18位學者以《法華經》教義、傳承、藝術三面向論述對話。
18 speakers from USA, Hungary, Japan, Mainland China, and Taiwan will delve into the doctrinal, transmission, and artistic aspects of the Lotus Sutra during the symposium.
主題發表 | Keynote Speech
主題發表 | Keynote Speech
張元林／敦煌研究院副院長 | Yuanlin Zhang
張元林／敦煌研究院副院長 | Yuanlin Zhang
Deputy Director of the Dunhuang Academy
Deputy Director of the Dunhuang Academy
張元林副院長長期從事佛教圖像和敦煌藝術與絲綢之路藝術比較研究。在敦煌法華圖像藝術、中西藝術交流研究方面成果卓著。主持完成教育部人文社會科學重點研究基地重大專案「敦煌法華藝術史研究」，作為子課題負責人參與國家社會科學重大專案「敦煌石窟專題圖像研究」、教育部人文社會科學重點研究基地重大專案「敦煌北朝石窟藝術史研究」等。發表《敦煌北朝時期〈法華經〉藝術及信仰考察》《關於敦煌法華經變「窮子喻」圖像的幾個問題》等論文50餘篇；出版獨著《北朝—隋時期敦煌法華圖像研究》《中國壁畫分類全集·敦煌壁畫西魏卷》等4部，合著《敦煌石窟美術史·十六國北朝卷》《甘肅石窟志》等4部，譯著《彌勒淨土論》1部。
Zhang Yuanlin has been engaged in comparative research on Buddhist images, Dunhuang art, and Silk Road art for an extended period. He has achieved significant results in studying Dunhuang Lotus Sutra illustrations and Sino-Western art exchanges. He led the major project "Research on the History of Dunhuang Lotus Sutra Art," an essential research initiative in the humanities and social sciences by the Ministry of Education. As a sub-project leader, he participated in major national social science projects such as "Research on the Thematic Images of Dunhuang Caves" and "Research on the History of Northern Dynasty Art in Dunhuang Caves," also key research initiatives by the Ministry of Education. He has published over 50 papers, including "A Study on the Art and Beliefs of the Lotus Sutra during the Northern Dynasties in Dunhuang" and "Several Issues Concerning the Image of the 'Parable of the Poor Son' in Dunhuang's Lotus Sutra Transformation Scenes." He has authored four books, including "A Study on the Lotus Sutra Images of Dunhuang during the Northern Dynasties to Sui Period" and "Complete Collection of Chinese Murals: Volume on Dunhuang Murals of the Western Wei," co-authored four books, including Art History of Dunhuang Caves: Volume on Sixteen Kingdoms and Northern Dynasties and Records of Gansu Caves, and translated one book, Treatise on Maitreya's Pure Land.
摘要 | Abstract
摘要 | Abstract
關於敦煌石窟法華經變常不輕菩薩品畫面的幾個問題
Key Issues in the Depiction of the Never Disparaging Bodhisattva Chapter in Lotus Sutra Scenes at the Dunhuang Caves
常不輕菩薩出自《法華經》。作為釋尊前世無數化身之一，他是一位恒常宣示如來「眾生皆可成佛」思想、修尊重行的菩薩。在現存《法華經》三部經中，均有專門講述常不輕菩薩事蹟的品目。在《正法華經》中列為「常被輕慢品第十九」，在《妙法蓮華經》和《添品妙法蓮華經》中分別列為「常不輕菩薩品第二十」和「常不輕菩薩品第十九」。在《法華經》所有品目中，該品雖然經文很短，故事情節也相對簡單，但卻非常重要，被認為是《法華經》中一個具有承前啟後意義的品目。在敦煌石窟法華經變中，常不輕菩薩品也是較多表現的品目之一。在敦煌石窟表現多品目內容的法華經變中，明確表現該品內容的洞窟有16個，時代從盛唐至宋代（即西元8—11世紀）。但筆者注意到，與敦煌法華經變中多數品目畫面總體上依照其在經文中出現的先後順序繪出不同的是，該品畫面卻跳過了其前講述「授記」、「功德」類內容的諸品，緊接在「化城喻品第七」畫面之後出現。而表現「授記」、「功德」諸品畫面又接在其後面。這與經文順序並不一致。這種情形的出現，是出於什麼樣的考量呢？而且，在長達300多年的時間裡這一位置模式基本保持不變，其背後持續支撐這一模式的動機又是什麼呢？對此，學界迄今未予關注。筆者以為，厘清這一問題，不僅有助於深化我們對敦煌法華經變構圖模式形成軌跡的認識；更重要的是，還有助於我們對這一模式所反映的法華思想及其對敦煌的影響的認識。故此，本文結合相關注疏解經文獻，對敦煌法華經變•常不輕菩薩畫面表現特色及其反映的法華思想相關問題進行了探討。主要觀點如下：
首先，常不輕菩薩品畫面主要表現常不輕菩薩「禮拜讚歎四眾」、「被四眾罵詈」、「被眾人打擲」這三個情節。在不同洞窟中，場景表現上又有一些簡繁處理。如盛唐第23窟中，畫面詳細描繪了上述三個場景，而且「禮拜讚歎四眾」的場景還出現了兩次。而中唐第154窟則僅僅描繪出「被眾人打擲」單一場景。
其次，常不輕菩薩品畫面基本上都接於表現「化成喻品第七」的畫面之後。其後再接表現「授記」、「功德」類內容的諸品畫面。個別洞窟中因經變繪於窟頂或經變整體構圖發生變化而位置有所差別。如晚唐第156窟窟頂、第85窟窟頂及宋代第76窟南壁法華經變所表現的那樣。當然，作為同類構圖中的唯一例外，第23窟常不輕菩薩品畫面後面卻不見表現「授記」、「功德」類內容的諸品畫面，而是表現藥王菩薩本事品的「燃臂」「涅槃」等畫面。筆者以為，這樣的處理並非隨意的偶然之筆，而是有意將前品中增上慢四眾詆毀《法華經》及法華行者的惡行與一切眾生喜見菩薩「焚身」、「燃臂」的供佛功德形成正反對比，以彰顯「滅後持經」的功德。。
第3、 常不輕菩薩品畫面出現位置的設定及形成固定模式很可能反映了唐代的窺基法師（632-682年）的《法華經》觀對敦煌法華信仰思想的持久影響。在《法華經》中，《化城喻品第七》講佛為以下根弟子為主的法華會上的大眾授記。在該品中，大通智勝佛時的十六王子所教化的眾生原本在過去無數世中也曾聞聽佛之教化，但卻中途退菩提心，半途而廢，故屬於退轉的小乘之類。佛通過講宿世與《法華經》結緣之事，令他們回小向大，最終得證佛果。而《常不輕菩薩品第十二》講常不輕菩薩為增上慢比丘為代表的四眾授記。在窺基撰《妙法蓮華經玄贊卷第一》中就把這兩類人相提並論，認為是像常不輕這樣的菩薩發願成就他們成道。即所謂：「化城喻品說十六王子所教化眾生過去結緣之始。…言當作佛。菩薩願心方便化之令生信意。」在同氏所撰《大乘法苑義林章》卷二•諸藏章中，也強調了此二品間的共通性：「應頌之中理有本生常不輕品重頌偈雲。彼時不輕即我身。是時四部眾著法之者。聞不輕言汝當作佛。以是因緣值無數佛。既說不輕佛本生事。故應頌中亦有本生。十六王子類此應知。」窺基曾作多部《法華經》相關注疏。據學界研究，在敦煌藏經洞發現的40多件敦煌法華經注疏文獻中，出自法相宗人之手的就占16件之多，其中窺基所撰《法華玄贊》幾乎獨佔了敦煌法華經疏的學習與傳承。這些都反映作為一代宗師的窺基的法華經觀對敦煌的影響。筆者推測，前述第23窟常不輕菩薩品畫面之後緊接藥王菩薩本事品畫面的處理方式，很可能也受到窺基斯想的影響。因為對於誹謗法華經及法師者應受到的懲罰，在窺基《妙法蓮華經玄論》中也有周詳的解釋與闡發。此外，與隋代敦煌法華經變中表現「譬喻品第三」的畫面中除了畫有體型相同的羊車、鹿車和牛車「三車」外還畫有一大白牛車的情形不同，唐及以後法華經變表現「火宅喻」的畫面大多僅畫出「三車」，而不見大白牛車。有研究者認為很可能也是受到窺基《法華經》觀的影響所致。
因此，本文認為，敦煌法華經變常不輕菩薩品畫面及其位置表現出和上述特徵，並不是敦煌地方畫工的即興之筆，而是基於長安高僧大德，特別是窺基法師對於《法華經》的解釋的觀點構建起來的。這一特徵在300年間未曾改變，不僅表明窺基法師關於《法華經》的闡釋觀點在中國法華信仰史上有著非常重要的影響，而且也從一個側面反映了中國佛教各宗各派間交融會通、相互影響的歷史。
如常法師／佛光山佛陀紀念館館長 | Venerable Ru Chang
如常法師／佛光山佛陀紀念館館長 | Venerable Ru Chang
Director, Fo Guang Shan Buddha Museum
Director, Fo Guang Shan Buddha Museum
如常法師是佛教文化遺產與博物館學領域的傑出學者與領導者。他目前擔任佛光山宗務委員、佛光山佛陀紀念館館長、世界佛教美術圖說大辭典主編、中華民國博物館學會理事。2018年5月6日獲大英圖書館特聘擔任「佛教特展諮詢委員會」委員。2019年5月17日起受聘為復旦大學國土與文化資源研究中心客座。主要研究佛教文化展覽、博物館管理。
Venerable Ru Chang is a distinguished scholar and leader in the fields of Buddhist cultural heritage and museum studies. She holds several prominent positions, including Member of the Fo Guang Shan Board of Directors, Director of the Fo Guang Shan Buddha Museum, Chief Editor of the Encyclopedia of Buddhist Arts, and Board Member of the Taiwan Museum Association. Her expertise earned her an appointment to the British Library’s Advisory Committee for the “Buddhism” Exhibition on May 6, 2018, and since May 17, 2019, she has served as a Visiting Scholar at the Center for Land and Cultural Resources Research at Fudan University.
Venerable Ru Chang specializes in Buddhist cultural exhibitions and museum management, contributing significantly to the advancement of museum practices and the interpretation of Buddhist art. Her innovative approach emphasizes Buddhist arts, distinguishing her as a leader in the field.
摘要 | Abstract
摘要 | Abstract
從《法華經》及其美術特展談佛館佛教文化展覽的進程
The Development of Buddhist Cultural Exhibitions at the Buddha Museum: Insights from “The Arts of the Lotus Sutra” Exhibition
本文借助此次佛光山佛陀紀念館與臺北故宮博物院合作的《法華經》及其美術特展，梳理佛陀紀念館佛教文化展覽的發展進程，並從三個方面進行探討：其一，佛陀紀念館的使命及展覽策略；其二，2011 年至 2024 年佛陀紀念館佛教文化展覽策劃的實踐；其三，成效與檢討。
佛陀紀念館歷經長達十三年持續不間斷的舉辦一系列佛教文化展覽，在博物館界塑造出獨具特色的博物館形象。通過此次初步分析佛陀紀念館在佛教文化展覽策劃實踐後的啟示,以此作為未來展覽策略新思維。
This paper examines the evolution of Buddhist cultural exhibitions at the Fo Guang Shan Buddha Museum through the lens of "The Arts of the Lotus Sutra" exhibition, a landmark collaboration with the National Palace Museum in Taipei. It focuses on three key aspects: (1) the museum’s missions and exhibition strategies; (2) its journey in planning Buddhist cultural exhibitions from 2011 to 2024; and (3) the outcomes and reflections on these efforts.
Over thirteen years of steadfast dedication, the Buddha Museum has curated a series of innovative exhibitions, forging a unique identity in the museum world. This study offers a fresh perspective on the museum’s exhibition planning practices, aiming to inspire new strategies for the future
太史文／美國普林斯頓大學 鈴木大拙講座教授 | Prof. Stephen F. Teiser
太史文／美國普林斯頓大學 鈴木大拙講座教授 | Prof. Stephen F. Teiser
D. T. Suzuki Professor in Buddhist Studies and Professor of Religion, Princeton University
D. T. Suzuki Professor in Buddhist Studies and Professor of Religion, Princeton University
太史文 (Stephen F. Teiser) 是普林斯頓大學鈴木大拙佛教研究教授和宗教學教授。他的作品利用絲綢之路上的文本、藝術和物質遺存來追蹤佛教與中國傳統之間的相互影響。他目前的研究利用詳細介紹佛教實踐的禮儀來了解中世紀中國的功德轉移和疾病治療。他最近的著作是關於佛教和儀式研究的專著《儀禮與佛教研究》（三聯出版社，2022），以及郝春文的《敦煌文獻：絲綢之路文本概論》的英譯本（門廊出版社，2020）。他也編輯了多本書，包括《法華經選讀》（2009）。
Stephen F. Teiser is D.T. Suzuki Professor in Buddhist Studies and Professor of Religion at Princeton University. His work traces the interaction between Buddhism and Chinese traditions using textual, artistic, and material remains from the silk road. His current research uses liturgies detailing the practice of Buddhism to understand the transfer of merit and the healing of sickness in medieval China. His most recent books are a monograph on Buddhism and the study of ritual, Yilu yu fojiao yanjiu仪礼与佛教研究 (Sanlian Publishers, 2022), and an English translation of Hao Chunwen’s Dunhuang Manuscripts: An Introduction to Texts from the Silk Road (Portico Press, 2020). He has also edited several books, including Readings of the Lotus Sūtra (2009).
摘要 | Abstract
摘要 | Abstract
Bringing the Lotus Sūtra to Life in the Age of the Manuscript | 寫經時代生活化的《法華經》
How were the Buddha’s teachings brought to life in medieval times? This talk shows how common people, preachers, copyists, philosophers, and artists created and recreated the Lotus Sūtra through performance, copying, and devotion. It draws connections between doctrine and practice, illustrating how Buddhist philosophy was understood concretely at the local level.
Before the advent of printing and mass literacy, most people encountered Buddhist literature by attending sermons, worshiping statues, or making donations for the copying of manuscripts. The Lotus Sūtra was the most popular Buddhist scripture in East Asia; its stories, deities, and doctrines were well known across China, Korea, and Japan. This talk focuses on handwritten copies of the text to help understand how people from all walks of life engaged with the sūtra.
佛陀的教義在中世紀是如何帶入生活中的？本次演講展示了庶民、說法者、抄經生、哲學家和繪畫家如何通過演繹、書寫和虔誠的信仰重新創造《法華經》。從教義與實踐的關聯，展示佛教哲學在本土的面向是如何被具體理解的。
在印刷術開始出現，以及人們普遍識字之前，多數人是透過佛法開示、禮拜佛像或供養寫經的方式接觸佛教文學。當時，《法華經》是東亞最受歡迎的佛教經典，其故事、神祇和教義在中國、韓國和日本廣為人知。本演講聚焦《法華經》寫卷，以了解各行各業的人們生活中如何與經文互動。
第1場次 | Panel 1
第1場次 | Panel 1
《法華經》及其教義
《法華經》及其教義
The Doctrines of the Lotus Sutra
The Doctrines of the Lotus Sutra
主持人 | Moderator：林保堯／國立臺北藝術大學名譽教授 | Pao-Yao Lin
主持人 | Moderator：林保堯／國立臺北藝術大學名譽教授 | Pao-Yao Lin
Emeritus Professor, Taipei National University of the Arts
Emeritus Professor, Taipei National University of the Arts
林保堯教授是國立臺北藝術大學的榮譽教授，專攻佛教美術與宗教藝術研究，擁有日本國立筑波大學藝術學博士學位。他的研究涵蓋東亞佛教藝術的歷史與意涵，並在學術界備受尊崇。林教授不僅致力於學術研究，也積極參與國際學術交流，培育出多位優秀學生。他透過策展與講座推廣佛教藝術，對學術界及社會有著深遠的影響。
Lin Pao-Yao is a Professor Emeritus at Taipei National University of the Arts, specializing in Buddhist and religious art studies. He earned his Ph.D. in Arts from the University of Tsukuba in Japan. His research focuses on the history and meaning of East Asian Buddhist art, garnering widespread respect in academic circles. Beyond his research, Professor Lin is actively involved in international scholarly exchanges and has guided numerous talented students. Through exhibitions and lectures, he has significantly advanced the promotion of Buddhist art, leaving a lasting impact on both academia and society.
[線上發表 | Online presentation]
末木文美士／東京大學名譽教授 | Sueki Fumihiko, Emeritus Professor at University of Tokyo
末木文美士／東京大學名譽教授 | Sueki Fumihiko, Emeritus Professor at University of Tokyo
1949年山梨県生まれ。1978年東京大学大学院博士課程単位取得。博士（文学）。現在、東京大学・国際日本文化研究センター名誉教授。専門、仏教学・日本思想史。著書『日本仏教史』『日本宗教史』『日本思想史』『平安初期仏教思想の形成』など。
末木文美士教授，1949年生於日本山梨縣甲府市，當代日本著名思想史家、文化學者，曾任東京大學教授、國際日本文化研究中心教授。主要治學領域為日本佛教史與東亞思想史。代表著述有《佛教——言語的思想史》《日本佛教思想史論考》《日本佛教史》《鐮倉佛教形成論》《近代日本與佛教》《佛教vs.倫理》《日本宗教史》《現代佛教論》等，其中多本著作已翻譯成中文出版。
Professor Fumihiko Sueki was born in 1949. In 1978, Sueki earned credits from the doctoral program at the University of Tokyo. He has a Ph.D in literature and specializes in Japanese Buddhism, as well as Japanese Philosophy at University of Tokyo’s International Research Center for Japanese Studies. His books include “History of Japanese Buddhism,” “History of Japanese Religion,” “History of Japanese Philosophy,” and “Formation of Early Heian Buddhist Thought.”
摘要 | Abstract
摘要 | Abstract
『法華経』における三重の菩薩論 | 《法華經》中的三重菩薩論
The Triple Bodhisattva Theory in the Lotus Sutra
『法華経』は伝統的には迹門と本門に二分され、近代の研究では、第1類・第2類・第3類に三分される。このうち、第1類は方便品から授学無学人記品まで、第2類は法師品から嘱累品まで、第3類は薬王菩薩本事品以下である。『法華経』は菩薩の思想で貫かれているが、第1～3類においてその説き方は異なっている。第1類は「存在としての菩薩」、第2類は「実践としての菩薩」、第3類は「模範としての菩薩」と名づけることができる。このようにして、『法華経』では菩薩のあり方を三重に説いている。本論文では、この三重の菩薩論を検討して、『法華経』の菩薩の重層的な性格を明らかにしたい。
傳統上，《法華經》分為迹門和本門兩部分，而在近代研究中則被分為第1類、第2類和第3類。其中，第1類包括從「方便品」至「授學無學人記品」，第2類涵蓋從「法師品」至「囑累品」，第3類則是從「藥王菩薩本事品」以下的章節。《法華經》整體由菩薩思想貫穿，但在第1至第3類中，對菩薩的敘述方式各有不同。第1類可以稱為「作為存在的菩薩」，第2類為「作為實踐的菩薩」，第3類則為「作為模範的菩薩」。通過這種方式，《法華經》展示了菩薩的三重形態。本論文將探討這三重菩薩論，以闡明《法華經》中菩薩思想的多層次性。
The Lotus Sutra is traditionally divided into the Trace Gate and the Dharma Gate, and in modern studies, it is further categorized into three types: the First, Second, and Third. The First type spans from the Expedient Device chapter to the Bodhisattva Universal Worthy chapter, the Second type from the Preachers of the Dharma chapter to the Exhortation to Maintain chapter, and the Third type includes the Bodhisattva Medicine King chapter and beyond. While the Lotus Sutra is imbued with Bodhisattva thought throughout, its presentation varies across these three types: the First type depicts the Bodhisattva as an "existent," the Second as "practitioner," and the Third as "exemplar." Thus, the Lotus Sutra expounds on the nature of Bodhisattva in these three dimensions. This paper examines the Triple Bodhisattva Theory to elucidate the layered character of Bodhisattvas in the Lotus Sutra.
永本法師／佛光山電子大藏經主任 | Venerable Yung Ben, Director of the Fo Guang Shan Electronic Buddhist Canons
永本法師／佛光山電子大藏經主任 | Venerable Yung Ben, Director of the Fo Guang Shan Electronic Buddhist Canons
現任：佛光山電子大藏經主任、藝文藏主編、南華大學專技級教授、叢林學院專任教師。
專長：從事《法華經》、天台止觀、佛教經典之研究。
著作：《天台四教儀教釋》、《天台小止觀》、《課堂上的摩訶止觀》、《人間佛教視角的法華經解讀》及試析現代生活之止觀熏修、管窺當前台灣佛教禪法現況等論文多篇。
摘要 | Abstract
摘要 | Abstract
天台智顗對《法華經》之演繹
The Interpretation of the Lotus Sutra by Zhiyi of the Tiantai School
《法華經》能在中國佛教廣為流傳，除了觀音信仰的普及外，天台智顗的創說，更是影響深遠。自姚秦弘始八年（406），鳩摩羅什譯出《法華經》後，在中國歷史文化發展的過程中，乃至北傳佛教流傳的國度，都受到廣大佛教徒的敬奉，視它為大乘經典中的經中之王。《法華經》以「一佛乘」為宗旨，提倡眾生皆能成佛。天台宗因智顗大師對《法華經》的融通、體悟，而建立「教觀雙美」的組織架構，成就天台思想的哲學體系，而依《法華經》立宗，故天台宗別稱法華宗。天台智顗對《法華經》的誦讀、修持，悟入法華三昧，體解法華實相義。著有《法華文句》、《法華玄義》、《摩訶止觀》之法華三大部，及五時八教之判教論、以五重玄義對經題發揮的經典詮釋論、一念三千、三諦圓融等的哲學思想。本文主要針對天台智顗對《妙法蓮華經》五字的發揮、十如是的三讀、諸法實相之論述、「一念三千」性具思想之創說、實踐體系化等作一探討，從中闡述《法華經》的經意，如何在天台智顗演繹下，流傳千年。
關鍵字：天台智顗、法華經、諸法實相、一念三千、三諦圓融
張文良／中國人民大學哲學院教授 | Wenliang Zhang, Professor at the School of Philosophy, Renmin University of China
張文良／中國人民大學哲學院教授 | Wenliang Zhang, Professor at the School of Philosophy, Renmin University of China
中國人民大學哲學院教授，佛教與宗教學理論研究所副所長，日本東京大學博士，日本印度學佛教學會評議員。主要研究領域為中國佛教。代表性著作有《澄觀華嚴思想研究》（日文）、《批判佛教的批判》、《日本當代佛教》、《東亞佛教視野下的華嚴學研究》、《大乘起信論思想史研究》等。
摘要 | Abstract
摘要 | Abstract
《法華經》的「二佛並座」與生命哲學新維度
A New Interpretation of Two Buddhas Seated Side by Side in the Lotus Sutra: Exploring Its Dimensions in Life Philosophy
《法華經》的「見寶塔品」中所出現的多寶如來與釋迦如來併座而說《法華經》的情節在佛教史上影響很大，關於其內涵，後世的《法華經》註釋家從各個角度做了詮釋。已經入滅的多寶如來為什麼會分座於釋迦佛，這故事情節背後的深層邏輯是什麼？天台宗湛然認為，多寶如來代表「滅而不滅」，而釋迦佛代表「生而不生」；多寶如來代表「本」，釋迦佛代表「跡」。二佛並座意味著「本跡雖殊，不思議一。」從生命哲學的角度看，傳統的生命哲學主要討論生與死之間的關係，而「二佛並座」則昭示了釋迦佛所代表的「生者」與多寶如來所代表的「死者」之間的關係。從關注「生-死」關係轉向關注「生者-死者」的關係，或許是現代生死哲學的新向度。
第2場次 | Panel 2
第2場次 | Panel 2
《法華經》及其傳承
《法華經》及其傳承
The Transmission of the Lotus Sutra
The Transmission of the Lotus Sutra
主持人 | Moderator：李瑞騰／佛陀紀念館學術發展委員會主任委員 | Ruiteng Li
主持人 | Moderator：李瑞騰／佛陀紀念館學術發展委員會主任委員 | Ruiteng Li
Chair of the Buddha Museum Academic Development Committee
Chair of the Buddha Museum Academic Development Committee
中國文化大學中文研究所碩士、博士學位。曾任國立中央大學中文系教授兼系主任、圖書館館長、文學院院長、人文研究中心主任、中大出版中心總編輯，以及國立台灣文學館館長。目前擔任國立中央大學人文藝術中心主任、全球華文文學星雲獎評議委員會主任委員，以及佛陀紀念館學術發展委員會主任委員。
Professor Jui-teng Lee holds a Master's and Ph.D. from the Graduate Institute of Chinese Literature at Chinese Culture University. He has served as a professor and department chair of the Department of Chinese Literature at National Central University, Director of the University Library, Dean of the College of Liberal Arts, Director of the Center for Humanities Research, Editor-in-Chief of the Central University Publishing Center, as well as the Director of the National Museum of Taiwan Literature. Currently, he is the Director of the Center for Humanities and Arts at National Central University, Chairman of the Advisory Committee for the Global Chinese Literature Hsing Yun Award, and Chair of the Fo Guang Shan Buddha Museum Academic Development Committee.
高奕睿／浙江大學文学院古籍研究所教授 | Professor Imre Galambos
高奕睿／浙江大學文学院古籍研究所教授 | Professor Imre Galambos
Qiushi Chair Professor, School of Literature, Zhejiang University
Qiushi Chair Professor, School of Literature, Zhejiang University
Professor Emeritus of Chinese, Faculty of Asian and Middle Eastern Studies, University of Cambridge
Professor Emeritus of Chinese, Faculty of Asian and Middle Eastern Studies, University of Cambridge
高奕睿教授畢業于美國加州大學伯克利分校中國語言文學專業，曾任英國劍橋大學教授、劍橋大學李約瑟研究院董事會成員、劍橋大學羅賓孫學院院士，兼任中國寫本研究歐洲學會會長、敦煌學國際聯絡委員會會員、漢堡大學名譽教授、漢堡大學寫本文化研究中心顧問委員、美國唐研究學會董事會會員等重要學術職務，同時擔任倫敦大學亞非學院期刊中國區主編、中古中國研究期刊顧問會員等。主要研究領域為敦煌寫本和西夏文寫本研究。目前出版有《中國先秦文字結構研究》《寫本與行者：一位十世紀西行漢僧的漢藏文書》《黑水城出土西夏譯中原文獻》《敦煌歸義軍時期寫本文化》等著作，發表論文80餘篇。
Professor Imre Istvan Galambos, a distinguished graduate of the University of California, Berkeley, with a major in Chinese Language and Literature, has made significant contributions to academia. His illustrious career includes a professorship at the prestigious University of Cambridge, a board membership at the esteemed Needham Research Institute, and a fellowship at Robinson College, Cambridge. His academic prowess is further underscored by his key roles as the President of the European Association for the Study of Chinese Manuscripts, a member of the International Liaison Committee for Dunhuang Studies, an emeritus professor at the University of Hamburg, an advisory board member of the Center for the Study of Manuscript Cultures at the University of Hamburg, and a board member of the American T'ang Studies Society. He also serves as the China regional editor for the Journal of the School of Oriental and African Studies (SOAS), University of London, and an advisory board member for the Journal of Medieval Chinese Studies.
Professor Imre Istvan Galambos’ research is deeply rooted in the realms of Dunhuang and Tangut manuscripts. His scholarly pursuits have led to the publication of several seminal works, including "A Study of the Structure of Pre-Qin Chinese Characters," "Manuscripts and Pilgrims: Chinese and Tibetan Writings of a Tenth-Century Chinese Monk Traveling West," "Chinese Texts Translated into Xixia Found in Khara-Khoto," and "Manuscript Culture During the Guiyi Army Period in Dunhuang." His extensive body of work also includes over 80 papers, each a testament to his profound understanding and dedication to these subjects.
摘要 | Abstract
摘要 | Abstract
Recycling the Lotus sutra | 法華經重綻
The Lotus Sutra, translated into Chinese by Kumārajīva as Miaofa Lianhua jing (Scripture of the Lotus Flower of the Wondrous Dharma), has been a foundational scripture in East Asian Buddhism for over a millennium. Its extensive presence in the Dunhuang library cave reveals its cultural and spiritual significance. While some copies were recycled for other texts, suggesting possible disregard, this paper argues that such acts of reuse may also reflect continued reverence and purposeful re-appropriation. This study examines the unique case of manuscript fragments of the Fahua jing, demonstrating how they were reused and potentially preserved as valuable artifacts rather than mere waste.
鳩摩羅什所譯成中文的《妙法蓮華經》，在東亞佛教中成為一部基礎經典已經超過一千年。《妙法蓮華經》在敦煌藏經洞廣泛性的存在，揭示了其文化和精神的重要性。其中一些寫經被回收書寫其他經典，或許被認為不受重視，而本文則認為這種重複使用的行為，也可能是反映對寫經的持續恭敬，以及刻意的再利用。本研究考察了《法華經》寫卷殘片特殊案例，展示了這些殘片是如何被重複使用並可能作為有價值的文物，而非只是廢棄物。
陳懷宇／美國亞利桑那州立大學歷史哲學宗教學院教授 | Huaiyu Chen
陳懷宇／美國亞利桑那州立大學歷史哲學宗教學院教授 | Huaiyu Chen
Professor and Associate Head of Undergraduate Studies, Religious Studies, Arizona State University
Professor and Associate Head of Undergraduate Studies, Religious Studies, Arizona State University
陳懷宇，現任亞利桑那州立大學歷史哲學宗教學院與國際語言文化學院合聘教授。主要研究興趣為中國佛教史、動物史、絲綢之路文化史、近代思想與學術史。已出版英文《虎蛇之地：在中國中古宗教中與動物共生》（2023）、《中古中國宗教與科學中的動植物》（2023）、《中國中世寺院主義之復興》（2007），及中文《動物與中古政治宗教秩序》（2012）等多種論著。
Chen Huaiyu is an appointed professor at Arizona State University in the School of Historical, Philosophical, and Religious Studies, as well as the School of International Letters and Cultures. He was selected as a visiting research fellow at the following institutes: Institute for Advanced Study in Princeton, Clare Hall at the University of Cambridge, and the Max Planck Institute for the History of Science in Berlin. His main research interests include the history of Chinese Buddhism, animal history, the cultural history of the Silk Road, and the intellectual and academic history of modern China. His publications include The Land of Tigers and Snakes: Living with Animals in Medieval Chinese Religions (2023), Plants and Animals in Medieval Chinese Religion and Science (2023), and The Revival of Monasticism in Medieval China (2007) in English, as well as Animals and the Political-Religious Order of Medieval China (2012) in Chinese, along with many other scholarly works.
摘要 | Abstract
摘要 | Abstract
《法華經》序品所見二十一大羅漢聽法敘事對中古宗教的影響
The Narrative of Twenty-one Arhats in the Lotus Sutra’s Introductory Chapter and its Implications in Medieval Chinese Religious History
《法華經》序品中提到佛陀弘法時有諸多聽眾，其中引人注目的是二十一位大羅漢，但經中並未詳細展開。《法華經》的漢文譯本出現之後，在南北朝後期和唐代出現了很多註釋，這些註釋對二十一位大羅漢的入選做了解釋和說明。而二十一位大羅漢的聽法敘事在中古宗教史上影響深遠，在諸多文獻和碑刻中以“度僧廿一人”或“度尼廿一人”的形式頻頻出現，成為敘述教團創建的標誌。從現有文獻和碑刻銘文中可以看到，這樣的敘事模式在中古時期南北各地的佛教寺院創建敘述中留下了印記，同時也影響了其他宗教。
The Lotus Sutra is one of the most important and influential Buddhist texts in Chinese Buddhism. Its doctrines, ideas, thoughts, and rituals often impact numerous Buddhist narratives and practices. In medieval China, this text was so widely circulated across Asia. In Dunhuang manuscripts, the copies of this text boast the largest number, with more than 6000 scrolls and fragments. Some of its narratives even subtly evolved into the non-Buddhist traditions. This paper aims to add a small token to our understanding of the significance of the Lotus Sutra by focusing on the narrative of the so-called ordaining of twenty-one people in medieval Chinese religious texts in both traditional textual sources and stone inscriptions. This study will first note a sentence of "ordaining twenty-one monks" in the Christian (Luminous Teaching or Jingjiao 景教) stele inscription from Xi'an, then trace its origin and importance in a medieval Chinese Buddhist context.
黃士珊／美國萊斯大學亞洲跨國研究系終身職副教授 | Shih-shan Susan Huang
黃士珊／美國萊斯大學亞洲跨國研究系終身職副教授 | Shih-shan Susan Huang
Associate Professor of Transnational Asian Studies, Rice University
Associate Professor of Transnational Asian Studies, Rice University
黃士珊教授現任萊斯大學跨國亞洲研究系副教授。她在國立臺灣大學取得碩士學位，並於耶魯大學獲得博士學位。其代表性著作包括《Picturing the True Form: Daoist Visual Culture of Traditional China》（哈佛亞洲中心，2012； 2015 年），該書由祝逸雯博士翻譯為中文，並於 2022 年由浙江大學出版社出版。黃教授的第二本英文專著《The Dynamic Spread of Buddhist Print Culture: Mapping Buddhist Book Roads in China and its Neighbors》於 2024 年 7 月出版，收錄於 Brill 的《Crossroads: History of Interactions across the Silk Routes》叢書，由 Angela Schottenhammer 主編。這部鉅作深入探討佛教印刷文化在中國及周邊地區的傳播歷程，分析了多種佛教印刷文本與圖像，視這些印刷文本與圖像為多元文化脈絡中的交流藝術品，而非靜態的文化遺物。這些藝術品在跨國間不斷流傳交融，乃為「佛教書籍之路」（Buddhist Book Roads）網絡的一環。 黃教授運用藝術史、宗教研究、數位人文學以及印刷與書籍文化史中的跨學科與網絡研究方法，從視覺、文本、社會和宗教的多重角度，為佛教印刷文化帶來全新的見解。
Shih-shan Susan Huang is an Associate Professor of Asian Art in the Department of Transnational Asian Studies at Rice University. She earned an M.A. from National Taiwan University and a Ph.D. from Yale University. Her major publications include Picturing the True Form: Daoist Visual Culture of Traditional China (Harvard Asian Center, 2012; paperback 2015). A Chinese translation, by Dr. Zhu Yiwen, was published by Zhejiang University Press in 2022. Huang’s second English monograph, The Dynamic Spread of Buddhist Print Culture: Mapping Buddhist Book Roads in China and its Neighbors, was released in July 2024 as part of Brill's series Crossroads: History of Interactions across the Silk Routes, edited by Angela Schottenhammer. This comprehensive study examines the dynamic spread of Buddhist print culture in China and neighboring regions, analyzing a wide array of printed Buddhist texts and images not as static cultural relics but as interconnected artifacts within multicultural contexts. These objects are explored as part of transnational networks, referred to as “Buddhist Book Roads,” through which they circulated. Huang employs interdisciplinary and network-based methodologies from art history, religious studies, digital humanities, and the history of print and book culture. Her work offers new insights into Buddhist print culture from visual, textual, social, and religious perspectives.
摘要 | Abstract
摘要 | Abstract
南宋杭州製作的三款《法華經》版畫及其流傳
The Spread of the Lotus Sutra Woodcuts Made in Southern Song Hangzhou
宋元時期杭州刻印的《法華經》，有很多在經文前附有精美的版畫，稱之爲「扉畫」 。這些扉畫的設計，反映了美術史上格套的使用、改造、和創新。 《法華經》木刻扉畫，因附于佛經，遂隨佛教書籍大量的複製、廣大的傳播而移動，是爲「可移動的文物」 。比起「不可移動的文物」（如墓葬、石窟等），其散播力更强、影響力更高。本講座介紹十一到十四世紀杭州《法華經》版畫，與其在日、韓、西夏、吐魯番等地的傳播，進一步思考跨國界的「佛教書籍之路」對跨文化研究的意義。
The Lotus Sutra editions printed in Hangzhou during the Song and Yuan dynasties often included exquisite woodblock frontispiece illustrations, known as feihua, placed at the beginning of the text. These frontispieces reflect the use, adaptation, and innovation of traditional artistic conventions in art history. As movable cultural artifacts, these woodblock illustrations traveled extensively with the reproduction and dissemination of Buddhist texts. Compared to immovable artifacts like tombs and grottoes, their mobility allowed for broader distribution and greater influence. This lecture examines the Lotus Sutra frontispiece illustrations produced in Hangzhou from the 11th to 14th centuries and traces their spread to regions such as Japan, Korea, Western Xia, and Turpan. It also explores the cultural and historical significance of the transnational "Buddhist Book Road" in cross-cultural studies.
第3場次 | Panel 3
第3場次 | Panel 3
《法華經》及其藝術-1
《法華經》及其藝術-1
The Arts of the Lotus Sutra - 1
The Arts of the Lotus Sutra - 1
主持人 | Moderator：黃士珊／美國萊斯大學亞洲跨國研究系終身職副教授
主持人 | Moderator：黃士珊／美國萊斯大學亞洲跨國研究系終身職副教授
Shih-shan Susan Huang, Associate Professor of Transnational Asian Studies, Rice University
Shih-shan Susan Huang, Associate Professor of Transnational Asian Studies, Rice University
[線上發表 | Online presentation]
張建宇／中國人民大學藝術學院教授 | Jianyu Zhang
張建宇／中國人民大學藝術學院教授 | Jianyu Zhang
Professor at the School of Arts, Renmin University of China
Professor at the School of Arts, Renmin University of China
張建宇，藝術史博士，中國人民大學藝術學院教授，中國人民大學佛教藝術研究所副所長，美國波士頓美術博物館高級訪學學者（2018/19）。主持國家社科基金、教育部人文社科基金等6項科研項目，出版《漢唐美術空間表現研究——以敦煌壁畫為中心》（2018）、《枕帶林泉——蘇州園林之宅園關係研究》（2015）等著作，曾獲北京市第十二屆、第十六屆哲學社會科學優秀成果獎（2012、2021）、第八屆胡繩青年學術獎（2018）。
Professor Jianyu Zhang currently teaches at the School of Arts, Renmin University of China, where he also serves as Deputy Director of the Institute of Buddhist Art and Head of the Art History Department. Holding a Ph.D. in Art History, Professor Zhang was a senior visiting scholar at the Museum of Fine Arts, Boston (2018/19). He has led six research projects funded by the National Social Science Fund and the Ministry of Education’s Humanities and Social Sciences Fund. His published works include A Study of Spatial Representation in Art from the Han to Tang Dynasties: Centering on Dunhuang Murals (2018) and Gardens and Residences in Harmony: A Study of the Relationship between Homes and Gardens in Suzhou (2015). Professor Zhang has received several prestigious awards, including the 12th and 16th Beijing Outstanding Achievement Award in Philosophy and Social Sciences (2012, 2021) and the 8th Hu Sheng Youth Academic Award (2018).
摘要 | Abstract
摘要 | Abstract
瑞光寺塔本《法華經》卷首畫與江南經卷佛畫傳統
Frontispiece of the Lotus Sutra from Ruiguang Temple Pagoda and the Tradition of Buddhist Art in Jiangnan Sutra Scrolls
存世最早插圖的《法華經》漢文寫本發現於蘇州瑞光寺塔第三層塔心天宮，今藏蘇州博物館。這是一套「豪華版」捲軸裝寫經，選用昂貴的碧紙和泥金銀的特殊媒介組合，各卷均繪有捲首畫，並配有經帙和經函。本文首先討論這套寫本的年代學，其次解讀各捲捲首畫圖像，最後結合10世紀的「錢宏信本」《法華經》（上海圖書館）、「杜遇本」《法華經》（上海博物館、上海圖書館）等經卷佛畫作例，旨在探索晚唐至北宋初期，江蘇南部和浙江北部地區經卷佛畫在構圖模式、裝飾圖案等方面的地域特色。
The earliest surviving illustrated Chinese manuscript of the Lotus Sutra was discovered in the "heavenly palace" at the core of the third level of the Ruiguang Pagoda in Suzhou and is now preserved in the Suzhou Museum. This manuscript, presented in a luxurious scroll format, is crafted with costly green paper and adorned with gold and silver pigments. Each scroll includes a frontispiece illustration and is accompanied by a sutra wrapper and case. This study first analyzes the manuscript's chronology, then interprets the imagery in the frontispieces of each scroll. Finally, it investigates the regional characteristics of Buddhist illustrations in scripture manuscripts from the late Tang to the early Northern Song periods, focusing on compositional patterns and decorative motifs in southern Jiangsu and northern Zhejiang. Comparative examples include the 10th-century Lotus Sutra manuscripts attributed to Qian Hongxin (Shanghai Library) and Du Yu (Shanghai Museum and Shanghai Library).
劉國威／國立故宮博物院 書畫文獻處 研究員兼科長 | Kuo-wei Liu
劉國威／國立故宮博物院 書畫文獻處 研究員兼科長 | Kuo-wei Liu
Researcher and Section Chief of the Department of Painting and Calligraphy at the National Palace Museum
Researcher and Section Chief of the Department of Painting and Calligraphy at the National Palace Museum
國立政治大學應用數學系畢業，美國哈佛大學梵文與印度研究學系博士。歷任佛光大學宗教學系助理教授及佛教學系副教授，曾兼任宗教學系主任、佛教學系主任及佛教學院代理院長。現為國立故宮博物院書畫文獻處研究員兼古籍科科長。
Professor Kuo-wei Liu is an expert in late Indian Mahayana Buddhism, Sanskrit-Tibetan Buddhist literature, and Tibetan Buddhist culture. He graduated from National Chengchi University with a degree in Applied Mathematics and obtained his Master's and Ph.D. degrees in Sanskrit and Indian Studies from Harvard University. Professor Liu has served as the Chair of the Department of Religious Studies, Chair of the Department of Buddhist Studies, and Acting Dean of the College of Buddhist Studies at Fo Guang University, accumulating extensive teaching and research experience.
摘要 | Abstract
摘要 | Abstract
十六世紀西藏色喀古陀寺（sras mkhar dgu thog）的法華經壁畫設計記錄（mdo ris）
Record of the Design of the Lotus Sūtra Murals at Sekhar Guthog Monastery (sras mkhar dgu thog) in Tibet in the 16th Century
色喀古托寺位於今西藏自治區山南市洛扎縣，此寺起源自噶舉派初祖瑪爾巴譯師（mar pa lo tsA ba chos kyi blo gros, 1012-1097）為磨練其弟子密勒日巴（mi la ras pa, 1052-1135），命其興建碉樓，最終（約1078年）修成名為「色喀古托」（意為「九層子堡」）的碉樓，初期建築僅為九層方形碉樓與鄰近一座佛殿，十二世紀時重修為寺院。
第一世巴沃‧曲旺倫珠（dpa' bo 01 chos dbang lhun grub, 1440/1455-1503）是噶瑪噶舉派領袖第七世噶瑪巴秋札嘉措（Karma pa 07 chos grags rgya mtsho, 1454-1506）的主要弟子，噶瑪巴遣其前往色喀古托寺擔任住持。第二世巴沃‧祖拉承瓦（dpa' bo 02 gtsug lag 'phreng ba, 1504-1566 ）亦於此寺昇座，他繼續維修並擴建該寺，如大殿、僧舍及圍牆，並為九層碉樓加蓋金頂，漸形成今日所見面貌。寺內保存噶瑪噶舉傳承壁畫，以及西藏曼日畫派的早期壁畫。
由第二世巴沃規畫擴建的大殿（’dus khang），位於色喀古托碉樓的西側，殿內有相當詳細且豐富的壁畫，今日仍存部分。殿內有一處名為「菩薩海會宮」（rgyal sras rgya mtsho’i pho brang）的殿堂，其壁畫內容為各重要大乘佛經的相關圖像，其中亦包含《法華經》經文內容的設計。由於該寺曾經多次重修，目前尚不清楚相關原始圖像是否仍存該寺，但很幸運的是第二世巴沃仁波切在其著作中留下頗詳細的文字，記述該經諸品圖像的陳列（mdo ris bkod yig），如此詳細的記錄不僅罕見於藏傳佛教，針對《法華經》經文圖像的記述也是目前所見唯一的藏文文獻。本文即是對此份記錄的譯解與初步分析。
The Sekhar Guthog Monastery is in Luozha (lho brag) County of Tibet Autonomous Region. This Monastery originated from the founder of the Kagyu Sect, Marpa (mar pa lo tsA ba chos kyi blo gros, 1012-1097). He trained his disciple Milerepa (mi la ras pa, 1052-1135) by ordering him to build a tower. Finally (around 1078), the nine-story tower was built, named "Sekhar Guthog" (meaning "nine-story son’s tower"). The initial buildings were only this nine-story square tower and an adjacent shrine hall; they were rebuilt into a temple in the 12th century.
The first Pawo, Chowang Lhundrub (dpa' bo 01 chos dbang lhun grub, 1440/1455-1503), was one of the main disciples of the leader of Karma Kagyu School, the seventh Karmapa Chodrag Gyatso (Karma pa 07 chos grags rgya mtsho, 1454-1506). The Karmapa appointed him to be the abbot of the Sekhar Guthog Monastery. The second Pawo, Tsuglag Threngwa (dpa' bo 02 gtsug lag 'phreng ba, 1504-1566) was also enthroned in this monastery. He continued to restore and expand the monastery, such as the main hall, monks' quarters and walls, and built a golden roof for the nine-story tower, gradually forming the appearance we see today. The monastery preserves murals inherited from the Karma Kagyu Sect, including murals from the early Manri Painting School.
The main hall ('dus khang), designed and expanded by the Second Pawo, is located on the west side of the Sekhar Guthog Tower. There are quite detailed and rich murals in the hall. Some of them are still extant today. In this hall, there is another smaller hall called "Palace of Bodhisattvas Gathering like Sea" (rgyal sras rgya mtsho'i pho brang). The murals in this hall were mainly the images related to the various important Mahāyāna Buddhist scriptures, including designs from the Lotus Sūtra. Since the monastery has been renovated many times, it is unclear whether the relevant original images still exist. However, fortunately, the second Pawo Rinpoche left quite detailed accounts in his writings describing the designed images according to the sūtra (mdo ris bkod yig). Such detailed records are not only rare in Tibetan Buddhism, but the description of the scripture images of the Lotus Sūtra is also the only Tibetan text which we have seen so far. This article is about the translation and preliminary analysis of this record.
鍾子寅／國立故宮博物院南院處助理研究員
鍾子寅／國立故宮博物院南院處助理研究員
Eric Tzu-yin Chung / Assistant Curator at the Southern Branch of the National Palace Museum
Eric Tzu-yin Chung / Assistant Curator at the Southern Branch of the National Palace Museum
台北藝術大學美術史研究所碩士、北京首都師範大學漢藏佛教美術研究所博士；目前為國立故宮博物院南院處助理研究員，為此次「《法華經》及其美術」特展之策展人。
其研究主要關注藏傳佛教藝術史，以及藏—漢佛教於美術圖像的交流議題。主要參與策畫的展覽包括「佛陀形影：院藏亞洲佛教藝術之美」、「四海名物：國立故宮博物院新入藏亞洲文物精選」、「呼畢勒罕：清代活佛文物大展」、「神獸現形：文物中的奇幻生物」。
Dr. Eric Tzu-yin Chung is the Assistant Curator at the Southern Branch of the National Palace Museum. He holds an MA in Art History from Taipei National University of the Arts and a PhD from the Institute for Sino-Tibetan Buddhist Art at Capital Normal University in Beijing. He is currently the curator of the exhibition "The Arts of the Lotus Sutra" at the Fo Guang Shan Buddha Museum.
Dr. Chung's research primarily focuses on Tibetan art history and the artistic exchanges between Tibetan and Chinese Buddhism. He has curated or co-curated several exhibitions, including "Imprints of Buddhas: Buddhist Art in the National Palace Museum Collection," "Cherished Objects: New Acquisitions of the National Palace Museum," "The Khubilghan: The Incarnated Lamas of the Qing Dynasty and Related Artifacts," and "Mythical Creatures Revealed in Artifacts."
摘要 | Abstract
摘要 | Abstract
北宋寫繪本的新發現：國立故宮博物院典藏泥銀寫繪本《法華經》
A Newly Re-dated Silver-Ink Manuscript of the Lotus Sutra from the Northern Song Dynasty in the NPM Collection
本文聚焦國立故宮博物院典藏的一件泥銀寫本《法華經》，其七卷裝，每卷附有扉畫。木質書衣刻「明人書《妙法蓮華經》第某冊」，清宮編纂《秘殿珠林續編》（1793年成書）亦以此著錄，本院過去也沿襲此觀點，將其著錄為「明泥銀寫本」。
然而，其整體書風近似唐宋寫經體——特別是北宋中晚期的金粟山寫本大藏經——的風格；七幅扉畫構圖模式不統一，呈現出早期的草創樣式：卷五扉畫跨5半葉，其餘跨4半葉，「釋尊於靈鷲山說法」於卷一、卷五、卷六、卷七4幅扉畫置於中央位置，但其餘三卷置於最右側；卷五、卷六、卷七3幅畫幅上緣飾一排網狀簾幕，但其餘4幅又未見。佛菩薩的開臉，近似唐（618-907）、遼（916-1125）時期的表現；前述網狀簾幕亦為早期扉畫的裝飾手法，僅見於晚唐至北宋的作品中。而卷三扉畫除略去網狀簾幕外，更與山東莘縣宋塔所出的《法華經》刻本（1069）同稿。
再者，七卷本《法華經》以7幅「連相」表現經文內容，至南宋初（12世紀中）發展成熟。此部泥銀本無論是選題或每個選題的表現方式，都未見南宋刊本的影響。綜合以上證據及相關作品的比對，本文作者將此部泥銀本重新訂年為11世紀中左右，從而替宋代繪畫提供了新的視覺證據。
The manuscript, discussed in this paper, consists of seven volumes, each featuring a frontispiece. The wooden covers with “Ming Dynasty Transcription of the Lotus Sutra,” and a similar record in the Qing imperial catalogue Midian zhulin xubian秘殿珠林續編 (1793), previously let to its classification as a Ming dynasty work.
However, the calligraphic style of this manuscript aligns more closely with mid-to-late Northern Song examples such as the Jinsushan金粟山 Triptika. The seven frontispieces lack a unified compositional scheme: each spans four half-leaves except for Volume Five, which spans five. The scene of Buddha Shakyamuni preaching on Vulture Peak is centrally placed in five volumes but appears on the far right in the others. The frontispiece illustrations, with their full-faced Buddhas and Bodhisattvas and distinctive lip renderings, bear stronger resemblance to late Tang (618–907) and Liao (916–1125) styles. Unique features, like net-like curtains and palm tree clusters behind Buddha Shakyamuni’s halo, are found only in Lotus Sutra frontispieces from the late Tang to Northern Song. It should also be noted that the Volume Three frontispiece, without a net curtain, is almost identical to a 1069 version from the Shandong pagoda.
Additionally, the thematic choices show no influence from the Southern Song edition, which matured in the mid-12th century and significantly influenced later works. Based on this evidence, the author concludes that the manuscript was created around 1050 CE. This new understanding provides important visual evidence for Chinese painting of the Song dynasty.
黃國清／南華大學宗教學研究所副教授 | Guoqing Huang
黃國清／南華大學宗教學研究所副教授 | Guoqing Huang
Associate Professor at the Institute of Religious Studies, Nanhua University
Associate Professor at the Institute of Religious Studies, Nanhua University
中央大學財務管理碩士、中央大學中國文學碩士、博士。曾任南華大學宗教所所長，現職南華大學宗教所副教授兼唯識學研究中心主任。研究領域包括初期大乘佛學、中觀思想、唯識思想、法華天台思想、華嚴思想、佛教生命教育、佛學與管理。於學術期刊與研討會發表佛學論文近百篇。專著有《金剛經與藥師經的當代釋讀》(高文出版社，2020)、《真諦大師：漢傳唯識學先驅》(經典雜誌，2022)、《星雲人間佛教與現代管理實踐》(佛光出版公司，2022)、《讀懂準提法門》（法鼓文化公司，2023）。長年在海峽兩岸推動天台學、唯識學等學術論壇；以及致力於傳統佛教經典的現代譯釋工作。
Professor Guoqing Huang previously served as the director of the Graduate Institute of Religious Studies at Nanhua University and is now an associate professor and the director of the Center for Consciousness-Only Studies at the same institute. He earned a master’s degree in Financial Management and both a master’s and Ph.D. in Chinese Literature from National Central University. His research spans early Mahayana Buddhism, Madhyamaka philosophy, Yogacara thought, Tiantai philosophy, Huayan teachings, Buddhist life education, and the intersection of Buddhism and management. To date, he has published nearly 100 academic papers in journals and conference proceedings.
摘要 | Abstract
摘要 | Abstract
《法華經》「二佛並坐」的思想詮釋
Interpretation of the Concept of Two Buddhas Seated Side by Side in the Lotus Sutra
在南北朝到唐代時期，在石刻造像與敦煌壁畫之中，以《法華經》為依據的創作題材，件數最多者為出自〈見寶塔品〉的「二佛並坐」故事。當釋迦牟尼佛講說《法華經》時，過去多寶佛的全身舍利坐在七寶佛塔中，從大地涌現虛空，為釋迦牟的說法做證明。最後，形成兩佛同坐塔中的莊嚴場景。這個主題何以獲得青睞，具有何種重要的思想啟示，而成為佛教藝術創作的選材，是個非常值得研究的課題。本文的研究範圍，將根據六朝到唐代的《法華經》注疏對〈見寶塔品〉的注釋內容，探討「二佛並坐」的思想意義，以發掘相關藝術作品嘗試傳遞的佛法信息。本文研究所涉及的《法華經》注疏以逐文注釋者為主，內含〈見寶塔品〉的單品解釋，包括劉宋．道生《法華經疏》、梁．法雲《法華經義記》、隋．智顗《法華文句》、隋．吉藏《法華經疏》及唐．窺基《法華玄贊》。此外，其他《法華經》注疏提及「二佛並坐」的論述，也具有參考價值。各家義理體系不同，提供多元的解釋觀點，是理解「二佛並坐」思想的豐富參考資源。
During the period from the Southern and Northern Dynasties to the Tang Dynasty, the story of the Two Buddhas Seated Side by Side from the Lotus Sutra, particularly from the chapter of Emergency of the Jeweled Stupa, was the most frequently depicted theme in stone carvings and Dunhuang murals. When Shakyamuni Buddha preached the Lotus Sutra, the relics of the past Buddha Prabhūtaratna emerged from the earth and manifested in the stupa made of seven treasures, attesting to Shakyamuni's teachings. This ultimately created a solemn scene of the two Buddhas seated together in the stupa. The reasons for the popularity of this theme and its significant philosophical implications make it a worthwhile topic for study. This paper will explore the significance of the Two Buddhas Seated Side by Side based on commentaries from the Lotus Sutra from the Six Dynasties to the Tang Dynasty, focusing specifically on the annotations related to the Emergency of the Jeweled Stupa. The aim is to uncover the Buddhist teachings that these related artworks attempt to convey. The study primarily focuses on commentaries with line-by-line annotations, including the Lotus Sutra commentary by Dao Sheng from the Liu Song Dynasty, the Meaning of the Lotus Sutra by Fa Yun from the Liang Dynasty, the Lotus Sutra Verses by Zhiyi from the Sui Dynasty, the commentary by Jizang from the Sui Dynasty, and the Profound Commentary on the Lotus Sutra by Kui Ji from the Tang Dynasty. Moreover, references to the Two Buddhas Seated Side by Side in other Lotus Sutra commentaries will also be considered. The differing doctrinal systems provide diverse interpretative perspectives, enriching the understanding of the concept of Two Buddhas Seated Side by Side.
第4場次 | Panel 4
第4場次 | Panel 4
《法華經》及其藝術-2
《法華經》及其藝術-2
The Arts of the Lotus Sutra - 2
The Arts of the Lotus Sutra - 2
主持人 | Moderator：劉國威／國立故宮博物院 書畫文獻處 研究員兼科長 | Kuo-wei Liu
主持人 | Moderator：劉國威／國立故宮博物院 書畫文獻處 研究員兼科長 | Kuo-wei Liu
Researcher and Section Chief of the Department of Painting and Calligraphy at the National Palace Museum
Researcher and Section Chief of the Department of Painting and Calligraphy at the National Palace Museum
國立政治大學應用數學系畢業，美國哈佛大學梵文與印度研究學系博士。歷任佛光大學宗教學系助理教授及佛教學系副教授，曾兼任宗教學系主任、佛教學系主任及佛教學院代理院長。現為國立故宮博物院書畫文獻處研究員兼古籍科科長。
Professor Kuo-wei Liu is an expert in late Indian Mahayana Buddhism, Sanskrit-Tibetan Buddhist literature, and Tibetan Buddhist culture. He graduated from National Chengchi University with a degree in Applied Mathematics and obtained his Master's and Ph.D. degrees in Sanskrit and Indian Studies from Harvard University. Professor Liu has served as the Chair of the Department of Religious Studies, Chair of the Department of Buddhist Studies, and Acting Dean of the College of Buddhist Studies at Fo Guang University, accumulating extensive teaching and research experience.
郭鳳妍/佛光大學佛教學系助理教授 | Feng-Yen Kuo
郭鳳妍/佛光大學佛教學系助理教授 | Feng-Yen Kuo
Assistant Professor at the Department of Buddhist Studies, Fo Guang University
Assistant Professor at the Department of Buddhist Studies, Fo Guang University
郭鳳妍教授現任佛光大學佛光學系助理教授，擁有北京大學考古學及博物館學博士學位。她專精於佛教藝術及佛教考古研究。郭教授的研究涵蓋了佛教藝術的歷史與發展，並深入探討了佛教遺址與文物的考古學意義。她的學術工作不僅在佛教藝術的學術研究上具有重要貢獻，也為佛教考古領域提供了寶貴的見解。
Professor Feng-yen Kuo, an Assistant Professor in the Department of Buddhist Studies at Fo Guang University, is a scholar whose work is highly valued in the field of Buddhist studies. Her Ph.D. in Archaeology and Museology from Peking University, coupled with her specialization in Buddhist art and archaeology, has led to significant insights. Her research, which focuses on the history and development of Buddhist art and the archaeological significance of Buddhist sites and relics, offers valuable perspectives and has greatly enriched our understanding of Buddhist art and archaeology.
摘要 | Abstract
摘要 | Abstract
大乘成佛—雲岡石窟第七、八雙窟主室正壁初探
Mahayana Enlightenment: An Initial Exploration of the Main Chamber Walls in the Seventh and Eighth Caves of the Yungang Grottoes
雲岡石窟7、8窟，是接續一期洞窟且為二期最早開鑿的洞窟，但其雙窟之形制、前後室之結構、壁面分層開龕之形式等等，與第一期洞窟有著極大差異，又7、8雙窟主室正壁以上下兩層龕構成的表現，更是不見於曇曜五窟與其他二期洞窟主室正壁。由於7、8雙窟主室正壁分別為「釋迦多寶佛＋彌勒菩薩」與「釋迦佛＋彌勒佛」的組合，於是本研究將首先通過《法華經》及其教義，並且考慮全窟圖像布局，討論7、8雙窟主室正壁的構成意涵，以找尋7、8雙窟主室正壁的圖像及文本來源，進一步探討《法華經》對雲岡石窟二期洞窟的影響。
The Seventh and Eighth Caves of the Yungang Grottoes are the earliest excavated caves of the second phase, following a previous group of caves. However, the architectural forms of the paired caves, the structure of the front and rear chambers, and the layered niches on the walls show significant differences compared to the first phase caves. Moreover, the main walls of the Seventh and Eighth Caves, characterized by a two-tiered niche arrangement, are not found in the Five Caves of Tanyao or in other second-phase cave main walls. Since the main walls of the Seventh and Eighth Caves feature combinations of ‘Shakyamuni and Prabhūtaratna’ and ‘Shakyamuni and Maitreya,’ this study will first analyze the significance of the composition of the main walls through the Lotus Sutra and its doctrines, while also considering the overall layout of the cave images. The goal is to identify the sources of the images and texts on the main walls of the Seventh and Eighth Caves and further explore the influence of the Lotus Sutra on the second phase of the Yungang Grottoes.
鍾碧芬/華梵大學佛教藝術學系助理教授 | Pi-Fen Chung
鍾碧芬/華梵大學佛教藝術學系助理教授 | Pi-Fen Chung
Assistant Professor at the Department of Buddhist Art, Huafan University
Assistant Professor at the Department of Buddhist Art, Huafan University
現任華梵大學佛教藝術學系助理教授，擁有英國愛丁堡大學藝術史博士學位，專長視覺文化、藝術史及文化政策。她曾任職於中研院歷史語言研究所、故宮博物院，現為教育部大學社會責任中心(USR)的核心委員，展現其在學術與社會實踐方面的貢獻。鍾教授也曾任教於大同大學媒體設計學系，教授數位遊戲等課程，具備跨領域的教學與研究經驗，並在視覺文化與藝術政策領域有深刻見解。
Currently serving as an Assistant Professor in the Department of Buddhist Art at Huafan University, Dr. Bi-Fen Chung holds a Ph.D. in Art History from the University of Edinburgh, UK. Her areas of expertise include visual culture, art history, and cultural policy. She previously worked at the Institute of History and Philology, Academia Sinica, and the National Palace Museum. Currently, she is a core committee member of the Ministry of Education's University Social Responsibility Center (USR), demonstrating her contributions to both academia and social practice. Dr. Chung has taught digital game courses in the Department of Media Design at Tatung University. Her interdisciplinary teaching and research experience provide valuable insights into visual culture and art policy.
摘要 | Abstract
摘要 | Abstract
一與多：法華曼荼羅
One and Many: The Mandala of Lotus Sutra
隋代智者大師開創之天台宗，其教義與修行法門隨著日本傳教大師最澄和尚入唐求法學成歸國後，於比叡山開創日本天台法華宗。然而最澄大師不僅深入天台宗經義同時亦修學密教，其將密教儀式與義理融入天台宗的教義。隨著其後人圓仁、圓珍入唐分別受金剛界、胎藏與蘇悉地灌頂，並攜回當時唐代最新的密教典籍與修行法門，至此日本天台宗內密教教義與實踐體系臻於完備。
本文藉由法華曼荼羅的圖像內涵，探討日本天台宗如何將中國的密教儀式和實踐融入其教義？其次，日本天台宗的密教實踐如何回應當地山神信仰，並進一步納入法華曼荼羅「萬神殿」中，形成獨特的宗教文化與圖像表現。
陳怡安/中央研究院歷史語言研究所 博士後研究學者 | Yi-An Chen
陳怡安/中央研究院歷史語言研究所 博士後研究學者 | Yi-An Chen
Postdoctoral Research Fellow at the Institute of History and Philology, Academia Sinica
Postdoctoral Research Fellow at the Institute of History and Philology, Academia Sinica
現任中央研究院歷史語言研究所博士後研究學者，其研究方向為佛教藝術。自碩士期間，正式進入佛教藝術史的學習，有幸親炙諸多佛教考古學者、敦煌研究院學者、海內外諸多佛教藝術權威學者。研究著重一手材料的調查、考證，同時採用佛教圖像學的方式，由經典、歷史文獻以及銘記等多⽅⾯資料，分析佛教藝術的圖像意義與流變。
Dr. Yi-an Chen is currently a postdoctoral researcher at the Institute of History and Philology, Academia Sinica. His research focuses on Buddhist art. Since his graduate studies, Dr. Chen has formally engaged in the study of the history of Buddhist art and has had the privilege of learning from numerous scholars in Buddhist archaeology, researchers from the Dunhuang Academy, and various authoritative figures in Buddhist art both domestically and internationally. Throughout his research process, Dr. Chen emphasizes the investigation and verification of primary materials, employing methods from Buddhist iconography to analyze the iconographic significance and evolution of Buddhist art using a variety of sources, including classical texts, historical documents, and inscriptions.
摘要 | Abstract
摘要 | Abstract
摩頂授記、佛佛相承─重探北朝至隋代的法華相關圖像
Legacy of Empowerment and Prophecy: A Re-examination of Lotus Sutra Imagery from the Northern Dynasties to the Sui Dynasty
《法華經》約於公元前一世紀至公元二世紀間次第成立。該經透過授記的方式，講述諸佛相承以及眾生皆可成佛的大乘成佛觀。繼之，古代禪師將該經整合至禪法中，開展以觀想二佛於七寶塔共坐，化佛遍滿十方國土的法華三昧觀。而後鳩摩羅什（344-413）等譯師將相關經典、禪法譯介至中土。二佛並坐是法華思想的重要表徵，五世紀初期已有相關像例，至北朝時期相關圖例的內容更加豐富，如與彌勒菩薩像或授記圖像共同表現。前者有學者以為是法華信仰與彌勒信仰的結合，後者則是表現法華經授記成佛的意旨。似未有學者以法華經中佛佛相承的角度予以融通。本文擬由法華經的佛身觀，重新考察北朝至隋代的法華相關圖像，嘗試予以不同角度的解讀。
The Lotus Sutra was gradually compiled between the 1st century BCE and the 2nd century CE. The act of conferring prophecy reveals the succession of Buddhas and conveys the Mahayana principle that all beings have the potential to attain Buddhahood. Ancient Chan masters later integrated the Lotus Sutra into meditation practices, developing the Lotus Samādhi Contemplation. This practice involves visualizing two Buddhas seated together inside a jeweled stupa, with countless transformative Buddhas appearing from all directions. Translators such as Kumārajīva (344–413) introduced related sutras and meditation practices to China. The depiction of two Buddhas seated side by side became a central symbol of Lotus thought. By the early 5th century, such imagery was already in use, and during the Northern Dynasties, these representations grew more elaborate, often appearing alongside Maitreya Bodhisattva or in scenes of prophecy. Some scholars suggest that the former reflects the fusion of Lotus and Maitreya beliefs, while the latter highlights the Lotus Sutra’s theme of conferring prophecy for Buddhahood. However, no studies have yet explored this imagery from the perspective of the Lotus Sutra’s concept of the succession of Buddhas. This article reexamines Lotus Sutra imagery from the Northern Dynasties to the Sui Dynasty, focusing on the visualization of the Buddha’s body and offering new interpretative insights.
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