论入定观音像形成与发展.docVIP

论入定观音像形成与发展 　　内容摘要：本文从具有特定造型和内涵的入定观音像入手，梳理了以蒙头趺坐为特征的入定?^音像的形成与发展。入定观音像造型在北宋晚期禅宗大发展的背景下，来源于打坐禅僧并被赋予禅定与般若意涵，两宋之际传布江南地区。南宋、元代造像增加了宝冠、璎珞等细节刻画，在江浙、江西、巴蜀等禅宗发达区域广为流传。明清时期入定观音像造型趋向多样化，双手施禅定印及披风与外衣分开表现成为新时代特征。其在发展过程中与水月观音、紫竹观音融合，并出现与十六罗汉组合现象，乃为补陀洛迦山观音信仰影响的结果。 　　关键词：入定观音；蒙头趺坐；禅定与般若；补陀洛迦山 　　中图分类号：K879.4；J19 文献标识码：A 文章编号：1000-4106（2018）04-0067-14 　　Abstract： Images of Guanyin （Avalokitesvara） with her head covered sitting in the dhyana posture（i.e. seated in meditation） first appeared in the late Northern Song dynasty when Zen Buddhism entered a period of rapid development. This image was originally derived from monks sitting in meditation and was given the meaning of dhyana （sitting meditation） and prajna（wisdom）， the theme gained popularity in the Northern and Southern Song dynasties and soon spread into the region south of the Yangtze River， though by the time of the Southern Song dynasty， the figure of Guanyin began to be attributed various decorations like the coronets and jade necklaces. When the spread of these images reached Jiangxi， Zhejiang， Sichuan， and Chongqing where Zen Buddhism was already well developed， it was taken up by local folk artists and disseminated even further into the popular culture of the time. In the Ming and Qing dynasty， this type of Guanyin image gained in diversity but came to be characterized mainly by the positioning of the two hands in dhyana-mudra and the separation of the cloak and garments. Over the course of its development through history， the theme of Guanyin sitting in meditation gradually combined with those of the Water-and-Moon Guanyin and Purple-Bamboo Guanyin as well as the sixteen arhats， largely as a result of the influence of the Guanyin belief from Potalaka Mountain in southern India. 　　Keywords： Guanyin sitting in dhyana； sitting in the lotus position in a cloak； dhyana and prajna； Potalaka Mountain 　　前 言 　　入定观音像，系白衣观音像的特殊形式，头覆披风，结跏趺坐，文献所谓“蒙头趺坐”[1]{1}，双手笼于袖中或施禅定印，现禅定之相。该造型观音像出现在北宋晚期，是禅宗思想大发展背景下的产物，尔后由都城（今开封）传布江南。南宋、