维摩诘“隐几”图像考

通过对隐几正名、形制和源流的考定,可以认为隐几是顾恺之所创维摩诘像的重要标志。南北朝时期,南方维摩诘"隐几"图像传至北方地区,并在流传过程中出现图像异变现象。北朝后期,隐几渐趋成为道教老君像的图像标志,并一直延续至唐宋以后。

A Study of Images of Vimakirti and Yinji

The first section of this paper examines the name,visual characteristics and evolution of yinji."Yinji"is believed to be the correct name and its images first appeared around mid 3 rd century AD.It was initially buried in graves with the dead as a practical instrument,mainly in Sichuan and Nanjing of the Yangtze River valley.In the mid 4 th century,yinji also appeared in burials from the Wei-Jin period in the northern region and became an important symbol of the tomb owner’s image together with zhuwei.Regarding the distribution of yinji in burials from the Wei-Jin period and Northern and Southern dynasties,it mainly appeared in areas populated by Han people,therefore can be considered as a material representation of Han culture.In particular,this paper points out that yinji should be used in front of a person’s waist,rather than behind as most scholars believe.The second section of this paper studies the specific process of incorporating yinji into images of Vimarakirti.In the Eastern Jin dynasty,yinji became a common object in social life among literati and scholar-officials.At the same time,it was also used as a religious implement by Buddhist monks when debating over Buddhist doctrine.Yinji in this period therefore had a certain symbolic significance.This image of figures in reality was portrayed by the great painter Gu Kaizhi and eventually formed images that combined representations of Vimakirai and yinji.Since statues from the Southern dynasties in the lower reaches of the Yangtze River are very rare,the earliest statues of Vimarakirti and yinji mainly appeared in Chengdu,Sichuan.This paper highlights especially that the statues of Vimarakirti unearthed in Chengdu are dressed in two ways:one wearing a robe with loose sleeves,and the other wearing simply a large cloth.The third section of this paper points out that images of Vimarakirti and yinji,which were popular in the southern region,were introduced into the Longmen grottoes in the north coinciding with the political reforms of Emperor Xiaowen in the later period of the Northern Wei dynasty.They then spread to other areas in the north with the advantage of royal grottoes.Due to various reasons,however,images of Vimarakirti and yinji that originated in the southern region took on several variations of form throughout the process of transmission,which became a special cultural phenomenon in the later period of the Northern dynasties.In the late Northern dynasties period,yinji gradually became a symbol of Taoist statues which continued through the Tang and Song dynasties.