印度鹿野苑遗址的发掘及研究综述
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摘要
鹿野苑,即今天印度的萨尔那特,是佛教、印度教与耆那教的著名圣地,也是佛教典籍所谓"初转法轮"之地,以佛陀在此第一次讲法著称。截至目前,鹿野苑遗址总共进行了大小九次发掘,最主要的两次发掘均集中在20世纪初期。本文以出土的佛教遗址和文物为主线,对鹿野苑遗址从其地理位置、发掘过程、文物综述等三方面进行分析,论述鹿野苑在佛教造像艺术中的地位及其对后世佛教艺术的影响。
Deer-Park, namely Sarnath in India, is a holy land for Buddhism, Hinduism and Jainism, and it is famous for being the site of the Buddha's first preaching, also known as the site of the First Sermon. Sarnath has undergone 9 excavations of different scales to date, two of the largest archaeological digs having been carried out in the early 20 th century. Focusing on the these archaeological sites and the various cultural relics retrieved therefrom, this paper discusses Sarnath's position in the history of Buddhist iconography as well as its influence on later Buddhist art by analyzing the following three aspects: the geographical position of Sarnath, the process of its excavation, and previous research on the cultural relics.
Deer-Park, namely Sarnath in India, is a holy land for Buddhism, Hinduism and Jainism, and it is famous for being the site of the Buddha's first preaching, also known as the site of the First Sermon. Sarnath has undergone 9 excavations of different scales to date, two of the largest archaeological digs having been carried out in the early 20 th century. Focusing on the these archaeological sites and the various cultural relics retrieved therefrom, this paper discusses Sarnath's position in the history of Buddhist iconography as well as its influence on later Buddhist art by analyzing the following three aspects: the geographical position of Sarnath, the process of its excavation, and previous research on the cultural relics.
引文
[1]Majumdar B.A Guide to Sārnath[M].Delhi:DelhiManager of Publications,1937:7.
[2]Shankar Ajai.Indian Archaeology 1992-93:A Review[G]//The Director-General Archaeological Surveyof India Government of India Janpath.New Delhi,1997:98-99.
[3]Daya Ram Sahni,Guide to the Buddhist Ruins ofSarnath with Seven Plates[M].Delhi:Manager of pu-blications,1933:20.
[4]玄奘,辩机,原著.季羡林,等,校注.大唐西域记校注[M].北京:中华书局,1985:561.
[5]Hoey W.Dhamek at Sārnāth[J].The Journal of the Ro-yal Asiatic Socirty of Great Britain and Ireland,1908:1156-1157.
[6]ASI.Annual Report of the Director General ofArcharology for the Year 1904-05[R].Calcutta:Office of the Superintendent of GovernmentPrinting,1908:73.
[7]晁华山.佛陀之光———印度和中亚的佛教胜迹[M].北京:文物出版社,2001:20.
[8]Sundaram K.Monumental Art and Architecture of India[M].Bombay,Taraporevala Sons and Co.PrivateLTD.,1974:50.
[9]Smith Vicent A.,A History of Fine Art in India andCeylon:From the Earliest Times to the Present Day[M].Bombay,D.B.Taraporevala Sons and CO.PrivateLTD,1962:41.
[10]常任侠.印度与东南亚美术发展史[M].合肥:安徽教育出版社,2006:31.
[11]王镛,主编.中外美术交流史[M].北京:中国青年出版社,2013:21.
[12]李崇峰.佛教考古:从印度到中国[M].上海:上海古籍出版社,2014:747-748.
[13]康僧会,译.六度集经:第1卷:布施度无极章·鹿王本生[G]//大正藏:第3册.台北:新文丰出版公司,1983:12-13.
[14]法显,撰.章巽,校注.法显传校注[M].北京:中华书局,2008:114.
(1)邹飞《印度考古局发展史的四个历史时期》(《南亚研究季刊》2015年第3期)将1947年以前印度考古局的历史划分为四个时期,即威廉·琼斯时期、亚历山大·坎宁汉时期、约翰·马歇尔时期和莫蒂默·惠勒时期。
(2)此外较详细的记载,可参考Martthew Sherring,Fitzed ward Hall R.著《印度教的圣城》(The Sacred City of the Hindus),Createspace Independent Publication,2015年。
(1)为方便后面的分类介绍,因此将1904—1905年间的出土物标记为A,将1905—1906年间的出土物标记为B,但对原报告中的编号顺序不予改变。
(2)虽然在两部考古报告中列出的雕塑多达550尊,然其介绍过于简单,仅仅列出出土地点、尺寸大小、类型等,不能进行深入的研究,因此本文只选择有图录的部分介绍。
(3)铭文内容为佛教的教义或法的准则,其后的Arolika也许是奉献者的名字。ASI,Annual Report 1904—05,p.82.
(4)铭文内容是“In the third year of Mahārāja Kaniska,the third(month)of winter,the 22nd day.”意为“大王迦腻色伽的第三年,冬季第三月二十二日。”
(5)根据厄特尔在报告中的介绍,举起的右臂,应结施无畏印。但右臂残缺,且从残缺的位置来看,手臂不可能是举起的,更不可能结施无畏印。
(1)图片采自“鹿野苑博物馆藏品”,佛像背光是后期修复的,此次发掘过程中未见。
(2)铭文读作dē[ya2] dharmō=yam Kumāraguptasya.译作“这是鸠摩罗笈多虔诚的礼物”,字母属于公元5世纪,因此供养人应是鸠摩罗笈多一世(Kumāragupta I)。
(1)在报告的正文中描述为一只鸭子(duck),而在“雕塑清单”中描述为一只雁(goose)。
(1)表格内容采自Ananda Coomaraswamy的《印度艺术简介》(Introduction to Indian Art,the Theosophical Publishing House,1956,p.14),略有删减。
(2)汉译文本出自《大唐西域记校注》卷7《婆罗尼斯国·象、鸟、鹿王本生故事》,第570页。
(1)安多罗王朝,又称萨塔瓦哈纳王国,统治时间为公元前100 年至公元200年,都城为阿玛拉瓦提。
[2]Shankar Ajai.Indian Archaeology 1992-93:A Review[G]//The Director-General Archaeological Surveyof India Government of India Janpath.New Delhi,1997:98-99.
[3]Daya Ram Sahni,Guide to the Buddhist Ruins ofSarnath with Seven Plates[M].Delhi:Manager of pu-blications,1933:20.
[4]玄奘,辩机,原著.季羡林,等,校注.大唐西域记校注[M].北京:中华书局,1985:561.
[5]Hoey W.Dhamek at Sārnāth[J].The Journal of the Ro-yal Asiatic Socirty of Great Britain and Ireland,1908:1156-1157.
[6]ASI.Annual Report of the Director General ofArcharology for the Year 1904-05[R].Calcutta:Office of the Superintendent of GovernmentPrinting,1908:73.
[7]晁华山.佛陀之光———印度和中亚的佛教胜迹[M].北京:文物出版社,2001:20.
[8]Sundaram K.Monumental Art and Architecture of India[M].Bombay,Taraporevala Sons and Co.PrivateLTD.,1974:50.
[9]Smith Vicent A.,A History of Fine Art in India andCeylon:From the Earliest Times to the Present Day[M].Bombay,D.B.Taraporevala Sons and CO.PrivateLTD,1962:41.
[10]常任侠.印度与东南亚美术发展史[M].合肥:安徽教育出版社,2006:31.
[11]王镛,主编.中外美术交流史[M].北京:中国青年出版社,2013:21.
[12]李崇峰.佛教考古:从印度到中国[M].上海:上海古籍出版社,2014:747-748.
[13]康僧会,译.六度集经:第1卷:布施度无极章·鹿王本生[G]//大正藏:第3册.台北:新文丰出版公司,1983:12-13.
[14]法显,撰.章巽,校注.法显传校注[M].北京:中华书局,2008:114.
(1)邹飞《印度考古局发展史的四个历史时期》(《南亚研究季刊》2015年第3期)将1947年以前印度考古局的历史划分为四个时期,即威廉·琼斯时期、亚历山大·坎宁汉时期、约翰·马歇尔时期和莫蒂默·惠勒时期。
(2)此外较详细的记载,可参考Martthew Sherring,Fitzed ward Hall R.著《印度教的圣城》(The Sacred City of the Hindus),Createspace Independent Publication,2015年。
(1)为方便后面的分类介绍,因此将1904—1905年间的出土物标记为A,将1905—1906年间的出土物标记为B,但对原报告中的编号顺序不予改变。
(2)虽然在两部考古报告中列出的雕塑多达550尊,然其介绍过于简单,仅仅列出出土地点、尺寸大小、类型等,不能进行深入的研究,因此本文只选择有图录的部分介绍。
(3)铭文内容为佛教的教义或法的准则,其后的Arolika也许是奉献者的名字。ASI,Annual Report 1904—05,p.82.
(4)铭文内容是“In the third year of Mahārāja Kaniska,the third(month)of winter,the 22nd day.”意为“大王迦腻色伽的第三年,冬季第三月二十二日。”
(5)根据厄特尔在报告中的介绍,举起的右臂,应结施无畏印。但右臂残缺,且从残缺的位置来看,手臂不可能是举起的,更不可能结施无畏印。
(1)图片采自“鹿野苑博物馆藏品”,佛像背光是后期修复的,此次发掘过程中未见。
(2)铭文读作dē[ya2] dharmō=yam Kumāraguptasya.译作“这是鸠摩罗笈多虔诚的礼物”,字母属于公元5世纪,因此供养人应是鸠摩罗笈多一世(Kumāragupta I)。
(1)在报告的正文中描述为一只鸭子(duck),而在“雕塑清单”中描述为一只雁(goose)。
(1)表格内容采自Ananda Coomaraswamy的《印度艺术简介》(Introduction to Indian Art,the Theosophical Publishing House,1956,p.14),略有删减。
(2)汉译文本出自《大唐西域记校注》卷7《婆罗尼斯国·象、鸟、鹿王本生故事》,第570页。
(1)安多罗王朝,又称萨塔瓦哈纳王国,统治时间为公元前100 年至公元200年,都城为阿玛拉瓦提。