拍賣筆記 vol.113 蘇富比紐約：宋代銅化生童子蓮紋鏡，3810美元售出 - Swergold, A Song Dynasty Bronze Hexafoil 'Boys' Mirror

蘇富比這件銅鏡售價沒有反應化生童子應有的價格，所以祝賀買家。化生童子的概念貫穿北朝到宋代，跟佛教緊密相關，和宋代的磨喝樂關聯。是十分重要、且被低估的母題。

「化生童子」在佛教藝術和宗教繪畫中，指的是在極樂淨土中從蓮花中化生而出的童子形象。 

「化生」是佛教術語，指不經由父母胎生等傳統方式，而是由因緣和合下直接化現而生的生命形態。 佛教經典中常提到的“四生”包括：卵生、胎生、濕生和化生。 其中，化生被視為最為清淨的一種，象徵脫離世俗染污的純淨。  

「童子」在佛教中通常代表純潔、無邪的形象，象徵修行者的清淨本性。

在佛教藝術中，化生童子常被描繪為從蓮花中出生，或手持蓮花，或在蓮花間嬉戲的形象。

這種描繪不僅展現了童子的純真，也象徵了蓮花出淤泥而不染的清淨特質。 例如，在敦煌莫高窟第171窟的壁畫中，就繪有九個化生童子形象，表現了他們在蓮花中的情景。

此外，化生童子也被視為阿彌陀佛的化身，象徵著極樂世界的純淨與美好。 在唐朝民間，流傳著《蓮花童子贊》，其中描述了蓮花童子見飛仙、落花在空中旋轉、歌聲妙曼等情景，表達了對極樂世界的嚮往。 

化生童子作為佛教藝術中的重要題材，體現了佛教對清淨、純潔和超脫世俗的追求，寄託了信眾對極樂淨土的嚮往與憧憬。

化生童子：Lotus-Born Children of the Pure Land

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March 20, 01:41 AM HKT

估價：4,000 - 6,000 USD

拍品已售：3,810 USD

Diameter 5⅞ in., 14.8 cm

出處

Blitz Antiques，阿姆斯特丹（紐約亞洲藝術展會），2003年3月

法國吉美博物館藏有一幅伯希和敦煌化生童子繪畫：

化生是一佛教常用術語。化生是指亡者往生到西方極樂世界的七寶池、八功德水中的蓮花中化生出世，往生極樂世界的眾生，分為九品，這是由前生修行的業力而定。“化”與“花”同義，“化生”就是“花和”的意思。

敦煌繪畫中為了形像地表現這一內容，在蓮花含苞或剛開的蓮花中畫一些或坐或立的童子，人們稱之為化生童子，在已開放的蓮花上畫一些或坐或立的菩薩，人們稱這為化生菩薩。化生童子和化生菩薩中，有許多抱持樂器的形像。把這些持樂器演奏的化生童子和化生菩薩，稱名為化生樂伎。

在敦煌絹畫中單體表現化生童子題材的十分少見，法國伯希和收集的這幅蓮上化生童子圖可能是唯一的一幅。此圖中可以看到圖上方三名化生童子即是“化生樂伎”，在蓮花座上各持樂器在演奏中。畫面下方中間的童子好像是剛剛化生，二側先一步化生的童子似乎在幫助他。化生童子光頭上留有一縷發咎，形象天真可愛。

敦煌壁畫演繹“化生童子”

現存最早北涼時的第268窟、272窟中就有化生，其後北魏、西魏、北周、隋、唐、五代、宋直至西夏，化生綿延不絕。按化生風格，可分為三個階段：早期（隋以前）、唐代、晚期（五代以後）。

402窟龕楣中心有化生童子，童子周圍圍繞火紋及忍冬紋，童子以打坐姿勢坐於蓮花之上，雙手自然垂放在蓮花兩側。

莫高窟第244窟 隋 化生童子

除268窟及402窟的化生以外，在257、260、435、431等窟的龕楣、龕壁附近都有化生形象。從總的方面來說，早期的化生裝飾意味濃厚，變化較少，兒童的特點不明顯，但其中不乏特色。

敦煌329窟初唐壁畫 化生童子

唐代

初唐第329窟西龕兩側的化生童子，在纏枝蓮花中做攀登嬉戲之狀，有的手托蓮花，有的手扶蓮朵，腹有兜肚，腳穿柔靴。相互之間或上望下盼、傳遞花朵；或站在枝端悠閒得意地往下看；或在下面置若罔聞。畫面充滿童趣，真實顯示了孩子們天真活潑且多樣化的性格。

初唐220窟南壁阿彌陀經變之右側七寶池里的蓮花，三片花瓣晶瑩剔透，包裹著一位雙手合十的化生童子。

榆林窟25窟觀無量壽經變 蓮花化生童子

早期的化生形象更傾向於圖案化，有自身特點存在。唐代的化生形象更為生動，唐時的化生是一次高峰。晚期的化生形象承襲了前兩個時期化生的特點，有些窟的化生有與飛天或供養童子合一的傾向。化生的發展脈絡與敦煌發展脈絡大體同步，也是敦煌文化中必不可少的內容之一。

藏經洞《報恩經變》中的化生童子

關於化生童子（Huasheng Tongzi）的常見問題解答

Q1：佛教藝術與信仰中所稱的「化生童子」是指什麼？

化生童子（Huasheng Tongzi）又譯為「蓮華化生之童子」，在佛教藝術和宗教繪畫中，專指於阿彌陀佛極樂淨土中，由蓮華中化生而出的童子形象。這些童子象徵純潔，代表佛教修行者在此殊勝淨土中理想的再生形式。

Q2：佛教中「化生」的觀念為何？與佛教所說的四生有何關係？

「化生」在佛教術語中指的是一種自然而生的生命形式，不經父母親緣、受胎、妊娠或孵化等過程，而是因緣具足時直接化現而生。佛教傳統上所說的「四生」包括：卵生、胎生、濕生和化生，其中化生被視為最為清淨的一種生育方式，意味著完全遠離世俗染污，並且不涉及其他三種生育方式的業障。

童子在佛教中具有什麼象徵意涵？

佛教中「童子」形象通常象徵純潔、天真，代表遠離世俗染污與執著，體現佛教修行者透過修行所期望達到的清淨本性。童子之形象亦隱含了不受業障或俗世紛擾干擾的純淨狀態。

在佛教藝術中，化生童子通常如何呈現？

佛教藝術中，化生童子常被描繪為自蓮花中誕生，或坐於、立於蓮花之上，或手持蓮花、花蕾，亦或嬉戲於極樂淨土的蓮花叢間。這種藝術描繪清楚地強調了童子清淨無染的特質，與蓮花「出淤泥而不染」的象徵意義相呼應。例如，敦煌莫高窟的壁畫中，即描繪了數位化生童子在蓮華間的情景。

蓮花在化生童子主題中有何重要象徵意義？

蓮花在佛教中具有深刻的象徵意義，代表清淨、覺悟與再生。蓮花從污泥中潔淨盛開，成為佛教中最完美的精神成長與超越世俗之隱喻。在化生童子的情境下，蓮花象徵極樂世界純淨無染的環境，而化生童子正是從此清淨之地直接化生而出，蓮花與童子之結合進一步強化了清淨與殊勝再生的主題。

化生童子是否與特定佛教人物或淨土有聯繫？

是的，化生童子與阿彌陀佛及其極樂淨土（又稱西方淨土）具有強烈的關聯。他們通常被視為極樂世界的居民，是透過阿彌陀佛願力及自身善業得以往生此淨土之眾生。在某些詮釋中，化生童子更被視為阿彌陀佛自身的示現或化身，直接體現極樂淨土的清淨與喜樂。

化生童子概念如何反映佛教信徒的追求？

化生童子的概念具體表達了佛教信徒對於超脫苦難、轉生於純淨世界（如極樂淨土）的渴望。童子從蓮花中直接化生的意象，象徵超越輪迴中不淨轉世之境，直接進入無染而喜樂的清淨境界。佛教徒常藉此理想，激發自身修持與功德累積，以期能於來世實現如此殊勝再生，與化生童子共同處於清淨與光明的世界中。

除了視覺藝術，是否有其他文化或文學作品提及化生童子？

有的，除了佛教藝術的視覺呈現之外，化生童子也常出現在其他文化或文學作品當中。例如，中國唐代民間廣泛流傳的《蓮花童子贊》，便描寫了蓮花童子見飛仙、落花旋舞於空中，以及美妙歌聲飄揚的場景。此類文學作品反映了唐代大眾對於極樂淨土之嚮往，同時強調了化生童子作為極樂淨土之純潔與美妙的象徵意象。

A COLLECTING JOURNEY: THE JANE AND LEOPOLD SWERGOLD COLLECTION

A bronze hexafoil 'boys' mirror, Song dynasty

March 20, 01:41 AM HKT

Estimate: 4,000 - 6,000 USD

Diameter 5⅞ in., 14.8 cm

Provenance

Blitz Antiques, Amsterdam (New York Asian Art Fair), March 2003.

In Buddhist art and religious paintings, the term "化生童子" (Huàshēng Tóngzǐ) refers to child-like figures born from lotus flowers in the Pure Land, symbolizing purity and the ideal rebirth for practitioners.

化生 (Huàshēng): This Buddhist term denotes beings born through spontaneous generation, without traditional reproductive processes. Among the "four modes of birth"—egg-born, womb-born, moisture-born, and spontaneously born—化生 is considered the purest, representing a state free from worldly defilements.  

童子 (Tóngzǐ): In Buddhism, "童子" typically represents purity and innocence, symbolizing the inherent pure nature of practitioners.

In Buddhist art, 化生童子 are often depicted emerging from or holding lotus flowers, or playing among them. These portrayals not only highlight the children's innocence but also the lotus's symbolism of purity—growing unstained from mud. For instance, in the murals of Dunhuang's Mogao Cave 171, nine such figures are depicted within lotus flowers.

Additionally, 化生童子 are sometimes regarded as manifestations of Amitābha Buddha, embodying the purity and bliss of the Pure Land. In Tang Dynasty folklore, the "Praise of the Lotus Child" describes scenes of the lotus child encountering celestial beings and flowers dancing in the air, expressing a yearning for the Pure Land.

Overall, as a significant motif in Buddhist art, 化生童子 embodies the Buddhist pursuit of purity and transcendence from the mundane, reflecting devotees' aspirations for rebirth in the Pure Land.

Frequently Asked Questions about Huasheng Tongzi (化生童子)

Q1: What does the term "Huasheng Tongzi" (化生童子) refer to in Buddhist art and belief? Huasheng Tongzi (化生童子) translates to "spontaneously born children" or "transformation-born children." In Buddhist art and religious paintings, it specifically refers to child-like figures who are depicted as being born from lotus flowers in the Pure Land of Amitābha Buddha. These figures are symbolic of purity and represent the ideal form of rebirth for Buddhist practitioners in this blissful realm.

Q2: What is the Buddhist concept of "Huasheng" (化生) and how does it relate to the four modes of birth? "Huasheng" (化生) is a Buddhist term describing a mode of birth characterized by spontaneous generation, without the need for parents or the processes of conception, gestation, or hatching. Buddhist cosmology traditionally outlines four modes of birth: egg-born (卵生), womb-born (胎生), moisture-born (濕生), and spontaneously born (化生). Among these, huasheng is considered the purest form of birth, signifying a direct manifestation arising from the right karmic conditions and free from the defilements associated with the other, more conventional modes of birth.

Q3: What does the image of a "Tongzi" (童子) or child symbolize in Buddhism? In Buddhism, the image of a "Tongzi" (童子), or child, typically represents purity, innocence, and a lack of worldly attachments or defilements. It symbolizes the inherent pure nature that Buddhist practitioners strive to realize through their spiritual practice. The child-like form embodies a state of being untainted by negative karma and worldly complexities.

Q4: How are Huasheng Tongzi typically depicted in Buddhist art? Huasheng Tongzi are frequently depicted in Buddhist art as emerging from lotus flowers, sitting or standing on lotus blossoms, holding lotus buds or flowers, or playfully interacting amongst lotus plants in the Pure Land. These depictions visually emphasize their pure and untainted nature, mirroring the lotus flower's symbolic ability to grow beautifully clean from muddy waters. Examples can be found in murals, such as those in the Dunhuang Mogao Caves, where multiple Huasheng Tongzi are shown within lotus flowers.

Q5: What is the significance of the lotus flower in relation to the Huasheng Tongzi? The lotus flower holds profound significance in Buddhism, symbolizing purity, enlightenment, and rebirth. Its ability to bloom immaculately from muddy conditions makes it a perfect metaphor for spiritual growth and transcendence. In the context of Huasheng Tongzi, the lotus flower represents the pure and undefiled environment of the Pure Land from which these beings spontaneously arise. The connection between the Tongzi and the lotus reinforces the theme of purity and the potential for a clean and blissful rebirth.

Q6: Are Huasheng Tongzi ever associated with specific Buddhist figures or realms? Yes, Huasheng Tongzi are strongly associated with Amitābha Buddha and his Pure Land (Sukhavati). They are often seen as inhabitants of this blissful realm, having been reborn there through the power of Amitābha's vows and their own virtuous deeds. Furthermore, in some interpretations, Huasheng Tongzi are even considered to be manifestations or emanations of Amitābha Buddha himself, embodying the purity and joy of the Pure Land.

Q7: How does the concept of Huasheng Tongzi reflect the aspirations of Buddhist devotees? The concept of Huasheng Tongzi encapsulates the aspirations of Buddhist devotees for a pure and liberating rebirth in a realm free from suffering, such as the Pure Land. The image of beings spontaneously born from lotus flowers symbolizes a transcendence of the cycle of impure births and a direct entry into a state of bliss and purity. Devotees often aspire to cultivate the necessary merit and faith to achieve such a rebirth, surrounded by beings as pure and radiant as the Huasheng Tongzi.

Q8: Beyond visual depictions, are there other cultural or literary references to Huasheng Tongzi? Yes, beyond their representation in Buddhist art, Huasheng Tongzi also appear in other cultural and literary forms. For instance, during the Tang Dynasty in China, there was a popular "Praise of the Lotus Child" (蓮花童子贊) which described idyllic scenes of these beings encountering celestial figures, witnessing flowers dancing in the air, and hearing beautiful songs. This literary piece reflects the popular devotion to the Pure Land and the idealized image of the Huasheng Tongzi as symbols of its purity and wonder.