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海天佛国的那些文物

2020-08-14陈阳

文化交流 2020年8期
关键词:普陀山观音佛教

陈阳

▲文物篇

经过渡轮去往普陀,一进山门,便进入观音道场。人们流连于葱茏林木、绵延峰峦和香道古桥、寺院精舍共同构筑的海天佛国之中,移步换景,随处可见皆是文物。

在普陀,有人人都知道的知名文物“普陀三宝”:普陀山唯一保持原貌的最古老的建筑物、元代石塔——多宝塔,法雨寺中从南京明故宫拆移而来的宫殿建筑——九龙殿,杨枝庵中以初唐著名大画家阎立本所绘观音画像为母本、明万历年间刻成的杨枝观音碑。也有并不引人注目的文物,比如,在普济寺的天王殿和方丈殿里,一低头就能看到雕刻腾跃蟠龙形象的明代万历年间石磉。

其实,要看观音道场里的文物,除了这些已经和普陀的山山水水、寺庙建筑融为一体的不可移动文物,还有一个很少有游客留意的清幽去处——普陀山佛教博物馆。若想在最短的时间内集中追溯普陀山的历史,理解普陀山历经千年形成的独特气质,这真是最好的去处之一。

从晋泰康年间开始,有人登普陀山寻访大士踪迹,到唐代成为观音道场,普陀山伴着国运兴衰,教因山兴,山以教显,终成佛教圣地、一代名山。一千多年来,不同身份、地位的人们,带着不同的愿景,将价值殊异的各类器物送到这里。这些供奉物和普陀山的命运连在一起,几起几落,积累至今,已经成为一笔可观的文化遗产。

各色造像 庄严法相

为了更好地宣扬佛法,佛教寺庙首重各色造像。从明代、清代、民国直至当代,以铜铸、玉琢、石雕、木刻、泥塑等不同工艺制作,观音、释迦、普贤、地藏、文殊……各种造型的佛和菩萨,或坐或立,成为普陀山各寺庵最重要的珍藏。

在文物部门的普查评估中,普陀山现存五件一级文物,其中三件是明代造像。最引人注目的是一尊明代铜漆金彩绘释迦雪山修道坐像。佛像连座高45厘米,以铜为胎,漆金彩绘,表现释迦牟尼成佛以前在雪山修道的场景:趺坐苦修,上身袒露,腰系长裙,传说因为日食一麻(麻子,一种食物)或一米,乃至七日食一麻米,变得形销骨立,须发卷乱犹如蓬蒿,身体孱弱,俨然如衰朽垂死的人。这类表现佛祖静坐思维、修习苦行的题材比较少见,再加高超的造型水平,实在是佛家至宝。

另两件造像则是明代铜鎏金观音坐像,单件高50.5厘米,重l5千克,黄铜铸成,中空,金泽尚存。束发,戴金冠,上身披帛,腰系长裙,双耳、双肩及腰、项佩饰物,结跏趺坐于仰覆莲花宝座上,面容丰润,目光下视,略带微笑,妙相庄严,反映了明代高超的铸造和鎏金工艺。

清代造像数量更多。除了最大宗的铜造像,还有一些特殊工艺的造像。例如,有一件福州产脱胎漆器弥勒佛像,高17.5厘米,弥勒身披墨绿间有褐红色、嵌有圆形金彩寿字的袈裟,半结跏趺坐于一芦苇蒲团上,右手拿佛珠搁置膝上,左手拿乾坤袋,张口大笑,生动传神。

脱胎漆器是一种著名的手工艺品,主要产于福州。制作时,以泥或木为胎,外面用漆裱上一层布,连上数道灰料,然后脱去内胎,再加以多次填灰、上漆、打磨、装饰等工序,制成的漆器坚固轻巧,不怕水浸,不易变形、落漆或褪色,有极大的耐腐蚀性。利用脱胎漆器制作碰不坏、摔不破、不掉漆不褪色等优点制作佛像,颇有塑不坏金身的意味。

朝廷香火 皇家檀施

从文献记载来看,最早对普陀山的皇家檀施,是宋太祖乾德五年(967年)命内侍王贵送香幡到普陀山供奉。以后,历代朝廷多将普陀佛事视为朝廷香火,多有檀施。例如,南宋宁宗赐钱万缗重建圆通殿,又赐金襕衣、银钵、玛瑙珠、松鹿锦幡等物,置常住田山,普陀香火日盛。

元朝廷笃信佛教,凡帝王登位,必先受戒,并给喇嘛和僧侣以优厚待遇,大多赐钱赐钞,修饰殿宇,降香斋僧,建塔给田,赐主僧袈裟,募铸铜像法器等。

明代皇帝崇佛,但由于海寇骚扰,普陀山佛教经历几次较大兴衰。明代万历皇帝与普陀结缘最深,曾多次赐赠内廷藏经、裹经绣袱、观音金像、善财、龙女像、紫金袈裟等。普陀山佛教博物馆现藏万历三十九年(1611年)纸质圣旨,是颁赐《大藏经》给镇海禅寺时随同下达的。

进入清代,普陀山佛事于康熙以后逐渐兴盛。康熙多次南巡,先后为普陀山寺庙御书“普济群灵”“潮音洞”“天花法雨”“梵音洞”“旃檀林”等匾额,赐御碑,现珍藏在文物馆的尚有“海月常辉”“大圆通殿”“狮子窟”“旃檀林”等9幅御书匾额及御制《陀罗迦山普济寺碑文》。

康熙时发明代南京故宫琉璃瓦12万张,盖建普陀山两寺大殿,又赐帑金到山降香,赐御书《心经》卷、缂丝钉金绣龙袍、内造自在观音像、内造珠宝观音像、内造渗金佛、救度佛母像、瀚海石砚、金幡、数珠、黄蟒袍、银制吉庆阿哥像等,多次蠲免普陀山寺院田产赋税钱粮。

雍正年间,发帑金凿山铺路,兴建或修缮山上殿宇及其他设施,使普济、法雨两寺琳宫辉煌,甲于江南。又赐御碑,建御碑亭于前、后两寺。乾隆也曾钦赐龙烛、玉印、五色哈达等物。

光绪时期,曾颁给全部《藏经》,赐给住持海青、袈裟等。当时御赐的官窑瓷器、景泰蓝龙纹钵、狮钮墨玉印等文房用具至今还保存在普陀山佛教博物馆。

有清一代,在皇家檀施的带动下,亲王贵族、各地官绅争书匾额、楹联挂于普陀山寺院,竞相布施,塑佛像,助建庵宇,这些捐赠也大多保存至今。

名家书画 烟云供养

宋元以来,前赴后继的名公巨卿、文人墨客、文武官绅梯山航海,畅游佛国,礼拜观音,留下许多诗文字画、石刻碑铭。这些烟云供养既为普陀山造就了众多的人文景观,也是普陀山佛教文化中非常珍贵的一部分。

普陀山佛教博物馆藏诗文书画众多,著名的有元代界画(界画,中国绘画中的一个门类)《山海宫阙图》,明代兰瑛《着色山水轴》,清代虚谷《三清图》和《着色山水册页》、咸豐六年(1856年)李国宁的《楞严经字塔》(用蝇头小楷将77036字的《楞严经》排列成塔形图案)、慈禧的《藏海慈波图》、清末著名画僧竹禅的字画多幅。近现代则有吴昌硕的《水仙风格石精神》、王震的《无量寿佛》、刘海粟的《水牛图》和程十发的《太子塔》等。

民國以后,轮船开通,交通逐渐改善,往来海内外更加便捷,名人士绅浮海而来参拜者更甚。康有为在普陀山留下的墨宝就是其中较为著名者。民国八年(1919年),康有为游山时题留行书中堂《题普陀山》诗,又赠给法雨寺对联一副:“锦屏临海浪,法雨飞天花。”两件作品右下均盖印章两方,一为白文篆体“康有为印”,另一为朱文白地,4厘米见方,文曰:“维新百日,出亡十六年,三周大地,经三十国,行六十万里,游遍四洲。”

回顾普陀山发展历史,唐代王勃,宋代王安石、陆游,元代赵子昂,明代文徵明、董其昌……无论是否登山游历,都为普陀山和观音大士写过礼赞和题咏。在岛上走一圈,随处可见散落在普陀山各个角落的摩崖石刻,再加上馆藏的书画珍品,一座普陀山,就是一部简明的元代以来文学、书画史。

四事供养 工艺瑰宝

在佛教教义中,以世间之财宝、香花等供养佛法僧三宝,称为财供养,以衣服、饮食、卧具等供养教团,合称为四事供养。因此,不同年代中,从帝王将相到士农工商,善男信女们送往普陀山的四事供养物里,常见各类香花供器、法器摆件和日用陈设,给普陀山留下许多历代工艺美术珍品。

例如,普陀山佛教博物馆珍藏一件明代浮雕灵芝螭虎纹犀角杯。整件器物取犀牛角的一段整挖雕成,口部近长圆形,内腹分3层,外腹浮雕螭虎和灵芝纹,螭虎形态生动,栩栩如生,灵芝镂空底座。杯的后部由一竹节和灵芝茎做成柄,造型规正,雕镂细腻浑朴,光泽莹润,灵芝层层掩映,螭纹犀利流畅,弥足珍贵。2010年5月鉴定为国家一级文物。

又如,馆内还藏有一座珍珠塔,是绝无仅有的近代工艺极品。民国四年(1915年),上海许源号珠宝行老板许蓉初为参加巴拿马太平洋万国博览会,特邀著名珠宝工人顾顺生、刘云章、许云辉、姚金生仿照上海龙华塔造型,采用3684颗珍珠和4328片翡翠,历时两年串扎而成。塔身7层,层层有珠梯相通,每层8个翘角,角尖各挂翡翠小钟1口;八面门窗,周设回廊、栏杆,玲珑剔透,巧夺天工,荣获万国博览会超等工艺奖。五年后,许蓉初朝礼普陀山时,将珠塔赠给鹤鸣庵住持淸福,设专阁供奉,后珍藏法雨寺珠宝殿。1962年由普陀山文物馆(普陀山佛教博物馆的前身)收藏。

此外,普陀山佛教博物馆保存了来自皇家内廷或名家能手所制的鼎、簋、炉、盘、烛台等供器,以铜、锡、瓷、漆、木等不同材质制作的花瓶,还有瓷塑人物达摩、无量寿佛、镶玛瑙银质观音、素三彩瓷塑观音像、水晶观音、玛瑙弥勒、青田石雕花果山以及各种木雕人物、花鸟、昆虫、如意等众多陈设摆件。

众缘和合 海外佛音

梦想名山久,因之驾海来。以共同的宗教信仰为纽带,普陀山和海外信徒的佛缘不绝如缕,他们也在大士道场留下了诸多的珍贵纪念品。现在,普陀山文物馆珍藏着来自印度、法国、日本、缅甸、菲律宾、柬埔寨等国的诸多珍贵文物,其中,比较知名的有日本佛像铜屏、印度贝叶真经、缅甸玉佛、泰国铜佛、柬埔寨菩提树叶、菲律宾玳瑁塔、斯里兰卡释迦牟尼出身图等。

普陀山佛教博物馆收藏菩提树叶4片,乃柬埔寨僧谨亮于民国十九年(1930年)所赠。菩提树又名“觉树”“道树”,相传释迦牟尼在菩提树下证得菩提(觉悟),因此佛教徒视为吉祥物。柬埔寨僧所赠4片菩提树叶,采自释迦成道的菩提树,作为一种佛教文物有其特殊价值。

贝叶经亦称贝叶真经,长40厘米,宽0.8厘米,薄如宣纸,每片刻有二三行、十余行不等梵文经典,共两部。一部是光绪三十一年(1905)鹤鸣庵僧清福从印度请来,曾供奉在灵石庵。另外,竹禅和尚亦珍藏贝叶经两片,并在82岁高龄时撰《贝叶记》,详述贝叶真经之文物价值和来历。

逡巡在普陀山佛教博物馆,遍览馆内陈列的文物,既惊讶于展品的材质、种类繁多,也时时感受着大士道场的清静庄严,这种独特的体验和参观其他的公共博物馆颇有不同。

海天佛国,香火不绝。善男信女,来来往往。流逝的岁月并没有记录下他们在向观音菩萨倾吐和祈求什么,倒是博物馆里这些供养物,记录下了他们的虔诚和愿景。

Cultural Treasures  at Guanyin Bodhimanda

By Chen Yang

Putuo Island in Zhoushan Archipelago in East China Sea serves as the Bodhimanda of Guanyin, the goddess of mercy in Chinese Buddhism. When one steps on the 12.5-square-km islet, one encounters a world of cultural treasures. The best known of all the Guanyin-themed treasures on the religious mount are three: the Duobao Pagoda, a stone structure erected in the Yuan Dynasty (1279-1368), the Nine-Dragon Hall, a religious site originally dismantled from the Palace Museum of the Ming Dynasty (1368-1644) in Nanjing and restored on Mount Putuo again, and a Guanyin monument created in the Ming Dynasty, which was based on a portrait of Guanyin created by Yan Liben (c.600-673) who lived in the early years of the Tang Dynasty (618-907). However, there are many other cultural treasures which one might overlook if one doesnt pay adequate attention. Take some column pedestals for example. In two halls of the Puji Temple are stone pedestals with dragon images carved in the Ming Dynasty (1368-1644).

In addition to these unmovable objects in Mount Putuo, one can also visit Mount Putuo Buddhism Museum where one can more easily trace the whole evolution of the Guanyin bodhimanda on the islet. Over about 1,700 years ago, someone visited Putuo in search of the sacred traces of Guanyin. In the Tang Dynasty, Putuo became the bodhimanda of Guanyin. Over the centuries, the islet evolved into one of the four sacred mountains in Chinese Buddhism. Over more than 1,000 years, the gifts brought over to the bodhimanda have accumulated. They constitute a cultural history about Putuo and Guanyin.

Most noticeable gifts brought to these temples are statues made in various historical epochs and of various materials. Of the five first-class national treasures on Putuo, three are statues made in the Ming Dynasty.

Many of the cultural objects in Mount Putuo were gifts from royal houses over the past 1,000 years and more. The earliest batch of royal gifts arrived in 967 shortly after Emperor Taizu of the Northern Song (960-1127) came to the throne. Other emperors of the Song gave cash and precious objects made of gold and silver. The gifts from the Yuan rulers were largely in the form of cash, which were used to refurbish temples, build pagodas and make statues, etc.

Though the emperors of the Ming Dynasty were firm believers of Buddhism, , the temples on Mount Putuo were not in a position to receive gifts from the court largely because the sea routes were more often than not blocked by rampaging pirates. Of all the emperors of the Ming, Emperor Wanli had the deepest ties with the temples of Putuo. He gave gifts ranging from sutra books especially printed for the use of the court to statues. In the collection of the Mount Putuo Buddhism Museum is a royal edict dated 1611 issued by Emperor Wanli. In the Qing Dynasty (1644-1911), emperors also gave gifts in the form of stationeries, porcelains, and robes. Following the emperors, nobles, government officials, and local celebrities contributed gifts to temples on Mount Putuo.

From the Song (960-1279) and the Yuan (1279-1368) dynasties on, worshippers tripped from all over the country to Putuo to pay homage to the Goddess of Mercy. Of these worshipers were celebrities, government officials, local personages, artists and men of letters. Many of them left behind them poems, paintings, inscriptions, and stone tablets. These cultural creations are an important part of the cultural wealth of Putuo. In the first half of the 20th century, travel to Putuo was made easier and faster by modern ships, thus more people came to visit, including Kang Youwei (1858-1927) in 1919 who wrote a couplet for a temple on Putuo. Today, millions of Guanyin worshippers visit Putuo per year.

In the history of Putuo, some well known poets, scholars and artists wrote poems and inscriptions on paintings in honor of Putuo and Guanyin no matter whether they visited Putuo or not. A stroll around the islet reveals many inscriptions carved on cliffs. And the museum keeps a large collection of paintings, calligraphic works by celebrated men of letters. Some people go so far as to say that Mount Putuo constitutes a brief history of literature, painting and calligraphy from the Yuan Dynasty up to the present.

The temples in Mount Putuo received all kinds of gifts from people in all walks. Gifts from ordinary people include food, clothing, pillows and sheets, everyday utensils, and instruments used in Buddhism mass. Some of these are well crafted objects and now in the collection of the Mount Putuo Buddhism Museum.

Also in the collection of the museum are gifts from overseas Guanyin worshipers, such as a jade Buddha statue from Japan, four leaves of the Bodhi tree from Cambodia, a set of scriptures written on palm leaves from India.

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