淺談犍陀羅秣莬羅藝術風格傳播

犍陀羅及秣莬羅的造像影子

 

犍陀羅

 

犍陀羅 Garndhara, 古印度名, 又是曾經立過國的國名, 也是一個藝術流派名。地理位置在今巴基斯坦之北部及阿富汗東部一帶, 包括印度河西岸、白沙瓦河谷、及斯瓦特、布內爾、巴米爾等河谷地帶。

 

 

 

犍陀羅是古印度十六列國之一，曾為古波斯帝國的一部分，自西元前326年馬其頓國王亞歷山大入侵, 希臘人統制犍陀羅達 130餘年, 希臘文化藝術對此地區影響甚深。阿育王曾派佛教徒來此傳播佛教。西元前二世紀，希臘人於此建立大夏國（Bactria）。西元一世紀，游牧民族大月氏人建立貴霜王朝，定都犍陀羅一帶，所以犍陀羅文化結合了古波斯、古希臘、古印度與中亞草原文化的精華；貴霜王朝時，與漢朝、羅馬、安息並列當時亞歐四大強國。

犍陀羅造像特徵

 

頭部呈現希臘神像面容, 臉型橢圓, 五官端正, 眉毛細長而彎曲, 眼窩深陷, 鼻樑端直與額頭連成直線 (所謂希臘鼻), 嘴唇薄而上翹且有鬚, 眉間有"白毫", 或凹雕為圓坑, 或凸雕為圓點, 頭頂肉髻多刻希臘式的波紋狀卷髮, 頭後背光僅一輪小型平板圖片, 拱托出一副沉思內省的思維型表情。

身上則是披著通肩式袈裟 (偶有右袒式), 袈裟類似羅馬長老裝, 襞褶厚重, 衣紋交疊。

有立像與坐像兩類。雕刻材料多係青灰色片岩, 色調幽暗、冷峻, 增加了佛陀的古樸、裝重。

     

秣莬羅

秣菟羅，是梵語Mathurā的音譯，又作摩偷羅、摩度羅，義譯為蜜善、孔雀，是印度古代十六大國之一蘇羅西那（Śūrasena）的首都，地處於古印度與西方通商路上的重要地區。是佛教、印度教和耆那教的聖地。

秣菟羅，今新德里東南地區，恆河中上游，是印度北方邦（Uttar Pradesh）西南部城市，古印度的藝術文化中心，印度本土文化傳統濃厚。此地帶盛產紅砂岩，雕刻傳統歷史悠久，曾大量製作印度民間神像，除雕刻佛像外，還雕刻印度教和耆那教神像。     

                            

 

秣莬羅造像風格

秣菟羅造像風格承繼傳統印度的薄衣貼體、寬肩厚胸、螺髮豐頰等造型特徵，顯現人體的生命感和力量感，與犍陀羅佛像衣質褶紋厚重粗獷、沉靜內省的風格形成強烈對比。

秣菟羅造像藝術又有貴霜時代和笈多時代之分，各有其不同的造像特色。

犍陀羅及秣菟羅風格佛教藝術的傳播及影響

犍陀羅藝術往西北、東北和東南三個方向傳播。向西傳入阿富汗，巴米揚石窟大佛未摧毀前，被認為是犍陀羅藝術後期代表。

東北沿絲路進入新疆及中國大陸，鑿於北魏的雲岡石窟佛像帶有犍陀羅的剛硬風格；鑿於北魏的河南龍門石窟融合漢民族藝術文化，富於東方氣質。

犍陀羅藝術向東南傳播，與北印度秣菟羅雕刻並行發展，秣菟羅時期的佛像藝術具印度本土特徵，佛像頭部光滑，頂結髮髻，圓臉表情生動，衣紋輕柔貼體富有律動之美。
       
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Monumental Head of Buddha

Monumental Head of Buddha

Head of a Buddha

  • 巴米揚大佛

    兩尊巨大立佛像中的東大佛高37米，西大佛高55米，為世上最大的雕刻立佛像（中國四川的樂山大佛雖然更高，但它是坐佛像），它們是多年來的文化地標，當地被列為聯合國教科文組織的世界文化遺產之一。 中國佛教僧人玄奘在約630年時曾經過巴米揚，在其所著的《大唐西域記》形容當地（書中稱為梵衍那國都城）是一個興盛的佛教中心，「伽藍（佛寺）數十所，僧徒數千人」。書中記載「王城東北山阿有立佛石像，高百四五十尺，金色晃曜，寶飾煥爛」，指的是西大佛，而它的東面有「釋迦佛立像高百餘尺」，指的是東大佛。

  • 曇曜五窟

    第二十窟外側的檐柱已坍塌，成為露天造像，主佛胸以上部位保存較完整，臉型豐滿圓潤，雙耳垂肩，雙目有神，面目慈祥，雕飾精美，剛健雄渾，是雲岡石窟中最富有代表性的作品。

  • 曇曜五窟

    第十九窟有一尊佛坐像。

  • 曇曜五窟

    第十八窟佛立像高達15米多。

  • 曇曜五窟

    第十七窟有交腳彌勒佛倚於須彌座上。

  • 曇曜五窟

    第十六窟窟形橢園，中間主佛立於蓮座上，周壁雕有千佛與佛龕。

  • Buddha

    A life size stone image of Guddha is standing in adhayamudra. In his left hand he holds the tem of his garments. The present scuplture is typically Gandhara in style- marked by long flowing drapery placed loosely on the body with heavey schematic folds. The robes cover both the shoulders. He bears an urna mark on the forehead. The wavy hair is arranged in top-knot fashion.

  • Standing Buddha Offering Protection

    This Buddha image embodies the qualities of radiant inner calm and stillness, the products of supreme wisdom. The figure once raised his right hand (now missing) in the characteristic abhaya-mudra, a gesture dispelling fear and imparting reassurance. The Buddha is robed in the simple, uncut cloth of a monk, and his religiosity is further conveyed by a large halo and auspicious markings (lakshanas), both natural and supernatural, denoting Buddhahood (the state of perfect enlightenment), As the summation of stylistic development in a period of Buddhist expansion, this representation became the benchmark for the Buddha image throughout Asia.

  • Head of a Buddha

    This head from a nearly lifesize figure of the Buddha reflects the late Gupta artistic idiom. In an effort to represent the Buddha’s enlightenment and his inward-looking meditative nature, the artist abstracted and idealized his physical features, especially evident in the articulation of the eyes and the intersecting convex planes of his cheeks and forehead.

  • Monumental Head of Buddha

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  • Fasting Buddha Shakyamuni

    After reaching enlightenment at Bodhgaya, Shakyamuni meditated and fasted for forty-nine days. Thus, showing him as an emaciated renouncer relates to his enlightenment and his status as a yogic ascetic who has ultimate control over his body. Other characteristics that relate to his enlightenment include the kusha grass on which he sits and the scene on the base, which shows the Buddha's first sermon, at Sarnath.

  • The Death of the Buddha (Parinirvana)

    According to the Buddhist chronicles, when the Buddha died near the city of Kushinagara, in northern India, he broke free from the cycle of rebirths and attained nirvana, absolute release from karmic rebirth. This panel, which would have been displayed in the harmika enclosure at the summit of a stupa (relic mound), shows the Buddha surrounded by lay and monastic mourners expressing their grief. These reactions are contrasted with the calm of the monk Subhadra, seated facing the Buddha’s corpse, who alone comprehends the true meaning of the Buddha’s death. Images of the Buddha’s paranirvana based on this Gandharan prototype became important icons for veneration across the Buddhist world in the following centuries.
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