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北朝筆記 vol.19 鹿頭梵志:敦煌北朝佛窟中的神秘外道人,克里夫蘭博物館所藏鎏金鹿頭梵志探究 - Ascetic Holding a Skull, Nothern Wei Dynasty Mrgasirsa in the Cleveland Museum of Art Collection.

這個呲牙咧嘴的人物可能是鹿頭梵志(Mrgasirsa),尺寸並不大,傳承十分顯赫,曾為東方陶瓷學會會員Sir Neill Malcolm所藏,參加過1935年倫敦藝展,儘管尺寸並不大,但由於其手持骷髏,形象特殊,在1935年時代就曾被喜龍仁(Osvard Siren)等眾多學者討論,這件雕塑來自北朝,短外套、流蘇裙子(dhoti)下擺,肚腩突出,束頭,手持骷髏。


根據資料顯示,在Sir Neill Malcolm收藏之前,這尊罕見的鹿頭梵志,是來自日本傳奇古董商淺野梅吉(Umekichi Asano),曾被收录在浅野梅吉蒐集 三杉隆敏編『中国金石陶瓷図鑑 竹石山房』图录中。



This grinning figure is probably a Mrgasirsa, of modest size, with a remarkable history of provenance, once in the collection of Sir Neill Macolm, a member of the Oriental Ceramics Society, exhibited in the London Art Exhibition of 1935.



該簋為少將 Neill Malcolm 爵士所有,他是英國軍隊的重要成員,曾於 1896 年前往中國和西藏,退休後擔任中國協會會長和大學中國委員會主席,該委員會成立於 1925 年,是一個由賠款資助的撥款機構。

Malcolm 也是 OCS 的成員,他建立了相當不錯的中國藝術收藏,並由他的兒子 Dugald Malcolm 上尉繼承。Dugald Malcolm 經常被認為“收藏”了《康侯簋》,但《康侯簋》最初是由其父親購得的。

The gui was owned by Major-General Sir Neill Malcolm, a prominent member of the British army who had travelled to China and Tibet in 1896, and upon retirement became president of the China Society and Chair of the Universities China Committee,  which was created in 1925 as a grant-giving body funded by reparations payments.


Malcolm, also a member of the OCS, built up a fairly modest collection of Chinese art that was inherited by his son, Captain Dugald Malcolm, who developed his own collection from 1936 onwards. Dugald Malcolm is often accredited with ‘collecting’ the Kang Hou Gui but it was originally acquired by his father



克里夫蘭博物館認為手持頭骨的人物被認定為 Mrgasirsa,鹿頭梵志曾向佛陀請教如何判斷阿羅漢的因果報應與轉生。在敦煌莫高窟的一些壁畫中,鹿頭梵志 Mrgasirsa 與 婆薮仙Vasistha 同時出現。


Despite its modest dimensions, this sculpture was discussed by many scholars, including Osvard Siren in the 1935, due to the special image of the skeleton he is holding. The sculpture, from the Northern Dynasties, has a short jacket and dhoti hem, a protruding belly, and a bunched head, holding a skull.



參考:


張元林:莫高窟北朝窟中的婆藪仙和鹿頭梵志形象再識

喜仁龍:1935年倫敦藝展的中國雕塑


北朝至初唐的中國佛教造像,一度流行婆藪仙、鹿頭梵志圖像,現存的造像碑、金銅像和若干石窟中都可以見到。敦煌壁畫中的婆藪仙、鹿頭梵志圖像是在北魏、西魏、北周、隋、初唐時期,共 29組,王惠民通過考察,將它們分為三個發展階段,并考證其經典依據和分析其所體現的佛教教義。


Among the creative Buddhas’ images in Chinese Buddhism, the image of Vasistha and Mrgasirsa were the images once popular from person to person during Northern Dynasties to the Early Tang Period. It is not strange to find the two images in some existent Buddhist steles?sculptures in copper and in several sites of Buddhist Temple Caves. At Mogao Grottoes, from caves dated from Northern Wei?Western Wei?Northern Zhou?Sui and the Early Tang Dynasty, there are 29 portraits of them appeared in a pairs. By a comprehensive investigation, the study of the two images shows there are three phrases of development of the image of Vasistha and Mrgasirsa. This article tries to verify textual basis and approach to a point of what Buddhist religion dogma embodied in the two images.



鹿頭梵志皈依佛教前是一位修行者。《增一阿含經》卷20記載,外道鹿頭梵志曾與佛在墓地討論骷髏問題,大意是:一次,釋迦帶鹿頭梵志至一墓地,共同分析五個骷髏,判定男女、死亡原因、治療方法、死後往生之處等,五人死後分別往生地獄、畜生、餓鬼、人道、天生等五趣(五道,佛教還有一種六道的說法,則是加上阿修羅道)。


鹿頭梵志一一知曉,但最後佛示以羅漢骷髏而鹿頭梵志不能判定羅漢往生何處,於是佛向他解釋佛教能斷輪回,勸其“快修梵行,亦無有人知汝所趣向處。”佛教通過這個故事來體現佛陀的智慧超群。


雲崗石窟第9窟前室北壁明窗西側



Ascetic Holding a Skull


c. 500 CE

China, Northern Wei dynasty

(386-534)

gilt bronze

Overall: 19.4 cm (7 5/8 in.); Figure: 18.1 cm (7 1/8 in.)

John L. Severance Fund 1980.25

Location:

241C Chinese Buddhist Sculptures


This grimacing figure has a potbelly protruding between the hem of his short jacket and fringed skirt (dhoti).



Description


The figure holding the skull has been identified as Mrgasirsa, who sought Buddha’s teaching on how to determine the karma and transmigration of the arhats. Mrgasirsa appears with Vasistha in some of the wall paintings of the Mogao grottoes in Dunhuang.


Provenance


by 1935–?

Major General Sir Neill Malcolm [1869–1953], London, England

?–1980

(Spink & Son, Ltd., London, England, sold to the Cleveland Museum of Art)

1980–

The Cleveland Museum of Art. Cleveland, OH


Citations


Spendlove, F. St. George, ed. Catalogue of the International Exhibition of Chinese Art, 1935-6. London: Royal Academy of Arts, 1935. Mentioned and Reproduced: cat. no. 552, pp. 39, 52

Sirén, Osvald. “The Sculptures in the Chinese Exhibition in London.” Parnassus 8, no. 2 (February 1936): 4–39. Mentioned and Reproduced: p. 5

Davidson, J. Leroy. “A Problem in Skulls.” Parnassus 11, no. 1 (January 1939): 33–35. Mentioned and Reproduced: p. 33

Octagon vol. XVII, no. 1 (Spring 1980). p. 5

Lee, Sherman E. “The Year in Review for 1980.” The Bulletin of the Cleveland Museum of Art 68, no. 6 (June 1981): 163–219. Reproduced: p. 202, no. 288; Mentioned: p. 218, no. 288


“Annual Report for 1980.” The Bulletin of the Cleveland Museum of Art 68, no. 7 (July 1981): 223–266. Mentioned: p. 235


Guo li gu gong bo wu yuan 國立故宮博物院. Hai wai yi zhen. fo xiang [海外遺珎. 佛像= Chinese art in overseas collections. Buddhist sculpture]. Taibei Shi: Guo li gu gong bo wu yuan, 1990. Reproduced: p. 35


Sun, Di 孙迪, editor. Zhongguo liu shi hai wai Fo jiao zao xiang zong he tu mu [中国流失海外佛教造像总合图目= Comprehensive Illustrated Catalogue of Chinese Buddhist Statues in Overseas Collections]. Beijing: Wai wen chu ban she, 2005. vol. 1, p. 152



Exhibition History


Year in Review: 1980. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).

Golden Gate International Exposition. San Francisco, CA (February 18-October 29, 1939). cat. no. 61


Fogg Museum of Art (1939–45).


International Exhibition of Chinese Art. Burlington House, Royal Academy of Arts, London, England (November 28, 1935-March 7, 1936).



有鹿头梵志的敦煌洞窟:


敦煌299窟:

修建年代:北周(五代、清重修)

洞窟形制:覆斗形顶,西壁开一龛

内容:前室西壁门上五代画说法图一铺;门南五代画不空绢索观音变一铺,下模糊;门北(即第300窟门南)五代画如意轮观音变一铺,下模糊。


龛壁画火焰佛光,两侧各画一飞天、一弟子,下南侧鹿头梵志、北侧婆薮仙。



莫高窟第254窟



莫高窟第254窟建于北魏,隋代重修,位于九层楼以北的石窟群中段。窟形平面呈长方形,前部人字披顶,后部平棋顶。中心塔柱东向面开一圆券龛,内塑交脚如来,龛外有胁侍菩萨。


东壁门上开明窗。同时在南北壁前部各开一龛,内塑交脚弥勒菩萨,后部各开四龛,内置如来禅定相或说法相。此窟塑像神态自然,体态匀称,比例适度;壁画内容丰富,构图巧妙,线描熟练,色彩凝重。



北壁绘有“尸毗王割肉贸鸽本生”、“难陀出家因缘”,南壁绘有“萨埵以身饲虎本生”和“降摩变”等故事。这些故事画都是在一幅画面中绘出许多复杂曲折的情节,从佛陀的前世到降魔成道、再到白衣涅槃,讲述了释迦牟尼前世今生种种不平凡的经历。


人物表情刻划很有特点,如“尸毗王割肉贸鸽本生”中,操刀取肉者的凶狠,尸毗王的平静大度,眷属的悲痛,形成强烈的对比效果。


此外,在中心柱东向龛内两侧还绘有两个常见的人物画像,一个是尼乾子,一个是鹿头梵志。



莫高窟第419窟


此窟开凿于隋代,洞窟平面呈方形,前部为人字披顶,后部为平顶,西壁开一龛。龛内塑一佛二弟子二菩萨,画尼乾子、鹿头梵志,龛外画维摩诘经变。



人字披画法华经变、须大拿太子本生、萨埵本生,后部平顶画弥勒上生经变、东王公、西王母,东、南、北壁画千佛,南北壁千佛中央画说法图。


莫高窟第329窟


初唐时开凿,此窟的窟形平面为正方形,窟顶是覆斗形顶,四面斜披内收至中心形成一个方形倒斗,故称覆斗顶。



西壁开一敞口龛。龛内塑一佛、二弟子、四菩萨,这些塑像经清代重修,已非唐代塑像原貌。

西壁龛内佛光两侧绘佛弟子、飞天,下画婆薮仙和鹿头梵志。


龛顶画佛传故事乘象入胎、夜半逾城。乘象入胎讲的是:传说两千多年前喜马拉雅山脚下有一个十分富饶的国家——迦毗罗卫,其国王净饭王是释迦族的首领,妻子是摩耶夫人,他们婚后一直没有儿子。



有一天摩耶夫人做了一个梦:梦中她在菩提树下乘凉,突然一朵洁白的云自远方飘然而来,云端站着一头大象,一菩萨骑在大象背上,头戴宝冠,饰璎珞。


摩耶夫人看着菩萨心里一阵紧张,恍惚间,菩萨好像变成一个男孩钻入她的右腋下,于是,摩耶夫人孕怀了太子悉达多。


莫高窟第204窟


窟顶 平瓣莲花飞天纹藻井  此窟开凿于隋末唐初。覆斗顶,窟顶藻井画飞天莲花井心,四披画千佛,南北壁中央画说法图各一铺,下画供养菩萨各十六身。  


龛顶画飞天与骑龙天人,在此图中,流云飞动,与隋代龛顶的装饰有相近之处,但艺术上更为成熟。



唐代飞天的画法有了很大的改变,由浪漫夸张步入现实,由天人转变为楚楚动人的宫娥舞女,粉壁丹青完全进入了人物画的范畴,工笔勾勒,重彩平涂,形象鲜明,体态生动。


唐代前期的飞天,在造型上具有世俗化倾向,贴近现实生活,甚至把飞天的造型描绘成一种颇具时尚的女性,完全成为一种以线描定型、用色彩写实的仕女画,具备了鲜明的中国特色和民族风格。无论头部发式、服装首饰,衣裙飘带,还是脸部的贴花,都反映出了当时的社会风俗。



不仅如此,飞天的脸型也转为中原人物的面孔,西域面相已荡然无存。依然保存的飞天基本特征是半裸、露臂、赤足、带有臂钏装饰等,天人与世人融合的形象,把佛界与人间的思想感情也融合在一起,因此深受世人的青睐,恒久不衰。


龛内北侧下部画尼乾子,南侧画鹿头梵志


莫高窟第418窟   

西佛龛全景  C207 P136G  修建年代:隋(西夏重修)  洞窟形制:前部人字披顶,后部平顶,西壁开一龛  内容:前室西壁门上模糊,门南西夏画普贤变(模糊),门北西夏画文殊变(模糊)。 


 甬道顶中央西夏画团花图案(模糊),南披西夏画模糊。  主室窟顶前部东、西披西夏画莲花椽条图案各十条,底层各有隋画。  后部平顶西夏画团花图案,底层有隋画。  西壁斜顶圆券龛内塑一趺坐说法佛、二弟子(迦叶执钵)、二菩萨(西夏重妆)。  龛顶隋画飞天六身(西夏重涂色)。  



龛内西壁隋画火焰化佛佛光,下南侧画鹿头梵志、北侧画婆薮仙(西夏重涂色);佛光南侧隋画五弟子、三菩萨(西夏重涂色)。北侧隋画六弟子、二菩萨(西夏重涂色)。  龛上隋浮塑龛楣,西夏画火焰莲花;两侧隋浮塑龙首龛梁、莲花龛柱。  龛下西夏画供器,两侧西夏画比丘、供养菩萨各一身。  龛外南、北侧西夏各画一飞天、二天王、二供养比丘。  南壁前部人字披下露出隋画千佛一部,西夏画药师经变一铺,下存男供养人三身、女供养人四身(被清凿一穿洞)。


后部西夏画药师佛一铺,下男供养人六身。  北壁前部人字披下西夏画说法图一铺,阿弥陀经变一铺,下存男供养人三身、女供养人四身(被清凿一穿洞)。后部西夏画药师佛一铺,下男供养人五身。  东壁门上西夏画五趺坐佛;门南西夏画二菩萨,下男供养人四身、女供养人二身;门北西夏画二菩萨,下男供养人二身、女供养人三身。


犍陀罗鹿头梵志:



云冈石窟鹿头梵志:

婆薮仙一般都与鹿头梵志成对出现,在云冈石窟始见于第二期洞窟,如第9窟明窗两侧的显要位置就雕刻二婆罗门像。东侧婆罗门(婆薮仙)左手持鸟,西侧婆罗门(鹿头梵志)右手持骷髅头。



又如第12窟前廊西窟顶南侧龛坐佛两侧各有一婆罗门像,其中右侧婆罗门右手持骷髅头,左侧婆罗门左手持鸟。受云冈模式影响的山西高平大佛山摩崖造像也是成对出现。


敦煌莫高窟北朝洞窟中的相同题材也均如此。因此,可以推测,由于北壁东侧椁板仅残存下部小部分,原有鹿头梵志已毁。与云冈高颧骨、深目高鼻的外道形象不同,婆薮仙面部丰圆、八字胡、下颔少须髯,表现的似乎是汉人形象。



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