|
|
|
 |
|
|
|
|
|
|
麥積山133窟10號造像碑的圖像源流與宗教內涵=Pictorial Origins and Religious Content of Maiji Shan Carved Tablet No. 10, Cave 133 |
|
|
|
| 著者 |
陳清香 (著)=Chen, Ching-hsiang (au.)
|
|---|
| 掲載誌 |
中華佛學學報=Chung-Hwa Buddhist Journal=Journal of Chinese Buddhist Studies
|
|---|
| 巻号 | n.18 |
|---|
| 出版年月日 | 2005.07.01 |
|---|
| ページ | 75 - 104 |
|---|
| 出版者 | 中華佛學研究所=Chung-Hwa Institute of Buddhist Studies |
|---|
| 出版サイト |
http://www.chibs.edu.tw/publication_tw.php?id=12
|
|---|
| 出版地 | 新北市, 臺灣 [New Taipei City, Taiwan] |
|---|
| 資料の種類 | 期刊論文=Journal Article |
|---|
| 言語 | 中文=Chinese; 英文=English |
|---|
| ノート | 作者為文化大學史學系教授 |
|---|
| キーワード | 麥積山石窟=Maiji shan caves; 佛傳碑=tablets portraying the Buddha's biography; 印度古石雕=ancient Indian stone carving; 犍陀羅藝術=Gandhāra art; 北魏佛教造像=Northern Weir Buddha statues |
|---|
| 抄録 | 麥積山133窟10號造像碑，製作於北魏景明年以後，即六世紀前半，其內容豐富，題材深具代表性。碑正中上端刻釋迦、多寶二佛並坐像，中段刻交腳彌勒菩薩像，下段刻釋迦說法三尊像，下段右側刻文殊維摩對問圖，此圖像題材雖來自漢譯的佛典，而圖像創意卻是中土發源的。
而造像碑的上段、中段其左右二側，羅列著八個畫面，依其內容，為釋迦世尊一生中重要的故事情節，如燃燈授記、乘象入胎、九龍灌頂、樹下思維、斷髮出家、降魔成道、初轉法輪、涅槃等。這些情節的刻畫，在10號碑製作以前，已在中土流行了好幾百年，如龍門石窟、雲岡石窟、敦煌石窟，以及無數的單獨石碑、金銅佛像，均已一再重複的製作過。此佛傳題材雖有經典依據，而追溯更早的圖像源流，應是來自中亞、印度。
本文首先探討來自印度的原始佛傳記載，再比對印亞各地的佛傳遺碑，詳述其風格特色。其次再論述中土自創的圖像題材，與創作當時的政治背景。最後舉出造像碑所彰顯的法華、維摩二經思想的深邃內涵，以及說法圖、佛傳圖等圖像組合的時代意義。結論是：10號碑繼承印度原始佛傳故事的精華，又因襲四世紀以下中土佛教圖像的創意，展現北魏後期皇室的漢化風采，統合了五世紀以來中原最流行的佛教題材，是六世紀前期最具魅力的造像碑之一。
Carved tablet no. 10, located in Maiji shan cave no. 133, was created after the Jingming period in the Northern Weir, in the first half of the sixth century. Its contents are manifold, and its subject matter is highly representative. In the center of the upper portion of the tablet are carved two Buddhas, ?ākyamuni and Prabhtaūratna, seated next to each other. In the middle portion is carved Maitreya Bodhisattva in a lotus position. In the center of the lower portion is carved an image of the three holies, with ?ākyamuni speaking the Dharma. On the lower left is carved an image of Mañju?rī and Vimalakīrti in a pose of mutual questioning. Although the subject matter of this image is found in Chinese translations of Buddhist scriptures, the image's mode of creativity orginates in Central Asia.
The left and right sides of the middle portion, as well as the upper portion contain a total of eight sides with images. Based on their contents, they represent important events in ?ākyamuni life: Dīpakṃara's prediction of buddhahood, an elephant bringing him to the womb, consecration by nine dragons, meditationg under a tree, shaving his head to leave the householder's life, overcoming Māra and attaining enlightenment, the first turning of the dharma wheel, and nirvā?a. The carved portrayal of these events was popular in China several hundred years befor this tablet was created. Examples can be seen at Longmen, Yungang, and Dunhuang caves. Also, there are countless individual examples in the form of stone tables and brass statues which were frequently reproduced. Although the subject matter of the Buddha's life is supported by scripture, even earlier origins can be found in Central Asia and India.
This article first discusses early records of the Buddha's biography from India and compares tablets found in Central Asia and India for a detailed stylistic description. then, it discusses subject matter unique to Central Asia as well as its political background. Finally, it draws detailed attention to content relating to the thought in the Lotus and Vimalakīrti sūtras, as well as to the temporal significance of the Dharma-speaking and biographical images when taken together. It concludes that tablet no. 10 inherits the essence of the early Indian Buddhist biographical stories, and because it inherits modes of creativity from fourth century and later Central Asian Buddhist imagery, it displays Northern Wei styles of court sinicixation.l It also integrates the most popular Buddhist subject matter of the fifth century. Indeed, it represents one of the most fascination tablets prior to the sixth century. |
|---|
| 目次 | 一、前言 77
二、10號造像碑的佈局大要 77
三、佛傳圖像源流 79
（一）燃燈佛授記
（二）靈夢託胎
（三）右脅而降、九龍灌頂
（四）樹下思維
（五）斷髮出家
（六）降魔成道
（七）初轉法輪
（八）涅槃示寂
四、中土自創的圖像佈局 88
（一）釋迦、多寶二佛並坐像
（二）交腳彌勒像
（三）釋迦說法像
（四）維摩經變
五、10號造像碑所彰顯的宗教內涵與時代意義 91
（一）法華思想
（二）維摩思想
（三）說法圖與佛傳圖的圖像組合 |
|---|
| ISSN | 10177132 (P) |
|---|
| 研究種類 | 雕塑造像 |
|---|
| 研究年代 | 南北朝-北朝-北魏 |
|---|
| 研究地域 | 甘肅(天水麥積山石窟) |
|---|
| ヒット数 | 2368 |
|---|
| 作成日 | 2006.12.07 |
|---|
| 更新日期 | 2018.02.27 |
|---|
 |
Chrome, Firefox, Safari(Mac)での検索をお勧めします。ＩＥではこの検索システムを表示できません。
|
|
|
