金和尚的聖化聲跡及其與敦煌行腳僧圖之關係

Abstract

本文主要以無相之神異感通敘述為主體，觀察外國僧無相於唐土聖化及其流播之過程。敦煌文獻中有P.2125、S.516、P.3717等十餘件寫本的《歷代法寶記》，對法號無相的新羅王子－金和尚之敘述時涉神異情節，且多為其他傳世文獻所未提及。無相入唐後，聲跡遠播，從長安到蜀地、吐蕃，甚至南詔，藏文《韋協》、《拔協》、《賢者喜宴》等，或日本有鄰館藏《南詔圖傳》等文獻均可見金和尚的蹤跡。無相在8世紀已被視為佛菩薩，如所到州縣，「家家懸幡，戶戶焚香」，並唱言「無相和上去，無住和上來。此即是佛佛授手，化化不絕」。又敦煌畫中有P.4029、P.4074等20幅的行腳僧圖，畫面中除有一僧背負行囊，手持麈尾、錫杖，身旁總有一老虎相隨，上方則有化佛一尊，並多有「寶勝如來佛」的榜題，該僧人的原型，筆者以為應該是同為新羅王子的無相與無漏的複合體，並影響後來約形成於13世紀的吐蕃十八羅漢中的達摩多羅形象。

The study mainly focuses on the description of monk Wuxiang`s mystic communion and observation of the sanctification and communication process of the foreign monk. There are dozens of Dunhuang manuscripts of The Record of the Dharma-Jewel Through the Generations (Lidai Fabao Ji) such as P.2125, S.516 and P.3717, in which description about Wuxiang, the Silla prince-turned-monk, also known as the monk Jin, includes mystic plots. Most of them are not mentioned in other scripts. Wuxiang`s reputation was widespread after entering the Tang dynasty. Writings about Monk Jin can be found in the manuscripts from Changan to Shu, Tibet and even Nanzhao, including Testinony of Wa (Weixie), Testimony of Ba (Baxie) and The Wedding Banquet of the Wise Men (Xianzhe Xiyan), as well as the manuscripts of the Illustrated Story of Nanzhao (Nanzhao tuzhuan) collected by the Yurinkan Museum in Japan. Wuxiang was regarded as the Buddha in the 8th century. Wherever he went, residents hung up Buddhist banners, lit incense and chanted ＂Monk Wuxiang goes, Monk Wuxiang comes. Each Buddha proffers his hand, one after another.＂ Moreover, there are twenty Monk on Pilgrimage (Xingjiaoseng tu) Dunhuang paintings, such as P.4029, P.4074. In the paintings, there is a monk carrying a traveling bag, holding a hossu in one hand and a cane in the other hand, and always accompanied with a tiger by his side and a Buddha above him. Most of the paintings are titled ＂Ratnaketu Shakyamuni Buddha＂ (＂Baosheng Rulaifo＂). I think the prototype of the monk should be the composite image of Wuxiang and Wulou, both Silla princes, and it had an impact on the Dharmatrāta statue of the Tibetan Eighteen Arhats in the 13^(th) century and after.