|
 |
|
|
|
|
|
|
雲岡石窟題材內容和造型風格的源流探索 -- 以佛傳本生因緣故事為例 =A Study of the Artistic Styles in the Yungang Grottoes and their Subject Matter: Biographies of the Buddha, Jātaka Tales, and Nidāna Tales |
|
|
|
| 作者 |
胡文和 (著)=Hu, Wen-he (au.)
|
|---|
| 出處題名 |
中華佛學學報=Chung-Hwa Buddhist Journal=Journal of Chinese Buddhist Studies
|
|---|
| 卷期 | n.19 |
|---|
| 出版日期 | 2006.07.01 |
|---|
| 頁次 | 351 - 404 |
|---|
| 出版者 | 中華佛學研究所=Chung-Hwa Institute of Buddhist Studies |
|---|
| 出版者網址 |
http://www.chibs.edu.tw/publication_tw.php?id=12
|
|---|
| 出版地 | 新北市, 臺灣 [New Taipei City, Taiwan] |
|---|
| 資料類型 | 期刊論文=Journal Article |
|---|
| 使用語言 | 中文=Chinese; 英文=English |
|---|
| 附註項 | 作者為四川省社會科學院研究員 |
|---|
| 關鍵詞 | 雲岡石窟=Yungang Grottoes; 因緣本生=Yungang Grottoes; 佛傳故事=Life stories of the Buddha; 犍陀羅雕刻=Gandhāran sculpture; 馬土臘雕刻=Gandhāran sculpture; 涼州模式=Liangzhou Mode; 雲岡模式=Yungang Mode; 第9、10雙窟內容=Caves 9 and 10 |
|---|
| 摘要 | 關於雲岡石窟的題材內容和造型風格，過去的研究認為：由於北魏統一了北中國，由印度、西域來的僧侶，直接到了平城（大同），他們帶來的粉本和雕造技法，對當地工匠產生了影響，因而雲岡石窟第一期的造像特徵和風格，有些方面直接淵源於犍陀羅；第二期，雲岡的雕刻技藝，尤其是衣紋的表現方面，沒有一種是犍陀羅的，是在中國自己傳統的基礎上，吸收外來藝術，融合成為自己民族形式的新創作。外國學者研究雲岡石窟藝術，認為其雕刻技藝是純西域式的（即犍陀羅式），但未能列舉大量的實例，與雲岡的作品從題材內容、圖像學和雕刻技藝方面，作比對分析。克孜爾石窟、敦煌莫高窟，以及河西隴右諸窟群，雖然開創年代早於雲岡，也有較少數與雲岡題材內容相同的佛傳和因緣本生故事，但前者的表現形式，主要是壁畫、塑像、繪塑結合，也有鑿窟開龕雕刻的，都難於與雲岡的就畫面內容、構圖模式和造型藝術，作比較研究。
隨著國外學者對犍陀羅和馬土臘佛教造像藝術研究的專著陸續出版，以及有關的圖版和實物的公佈和展出，為我們深入認識和研究雲岡石窟第一、二期某些佛傳、因緣本生故事內容和其造型風格提供了可資比對的資料。
本文分為三部分。第一部分：將雲岡第一、二期的九個題材作品內容與犍陀羅佛教雕刻同類作品比對研究，認為兩者的畫面內容，有相似的，也有相近的。兩者的構圖模式都講究畫面對稱平衡，雲岡的大多畫面簡潔，突出故事主題。第二部分：著重研究雲岡第9、10雙窟中根據《雜寶藏經》內容雕刻的九幅因緣故事畫，以及一幅出自《六度集經》的「睒道士本生」連環畫雕刻，可以看出，作為雲岡第二期石窟中雕刻代表作品，為了突出宣傳不同的佛經內容，特點各異。特別是通過不同人物的形態、位置，表現了一個故事過程，體現了雲岡石窟第二期造像不多見的設計思想。第三部分：通過對雲岡二十個佛傳、因緣本生故事畫面內容，初步認為，雲岡石窟第一期的形象造型，並不是受「涼州模式」的影響。十六國時期，現今河西走廊上，被學者們斷定為西秦、北涼時代的並被命名「涼州模式」的佛教造像，其源流應是出自犍陀羅。雲岡第二期雕刻，既繼承了犍陀羅和貴霜時期（西元一～三世紀）馬土臘佛教造型藝術，又融合進中土有優秀傳統的雕刻技藝，石窟中的雕刻畫面和佛像龕，同時出現了印度式的盝形頂，中國傳統的筒瓦式屋頂，椽子都為單層，間隔較瓦輪略密，即是明證之一。
Regarding the subject matter and artistic styles of the Yungang Grottoes, past scholarship indicates that monks coming from India and Central Asia following the Northern Wei unification of China brought with them copybooks for painting and carving techniques which influenced local artisans. Likewise, the first stage (Phase I) of artistic features and styles in the Yungang Grottoes can be traced to Gandhāra. None of the Phase II carving techniques, especially the rendering of garment folds, however is Gandhāran. They are an innovation, based on a mixture of China’s own traditions and the adoption of foreign techniques, thus forming a unique style. Foreign scholarship on the art of the Yungang Grottoes claims that its carving techniques are purely those of Central Asia, i.e., Gandhāran. However, they are unable to provide actual examples for a comparative analysis of the subject matter, iconography, or artistic techniques for art in the Yungang Grottoes. The Kizil Grottoes, the Mogao Grottes at Dunhuang, and the Longyou Grottoes at Hexi were all constructed before the Yungang Grottoes, and yet there are instances of Buddha biographies, Nidānas and Jatakas being used as subject matter, just as in the Yungang Grottoes. Nevertheless, the artistic formats found in the former include frescoes, sculptures, painted sculptures, and niche sculptures. Thus a comparison with Yungang paintings and figure art might be difficult.
As foreign scholarship on Gandhāran and Mathuran Buddhist sculptural arts continues to be published, and as new exhibitions of paintings and artifacts are displayed, we are able to gain a clearer understanding, enabling us to compare the subject matter of Phases I and II, noting the extent to which they include Buddha biographies, Nidānas, and Jātakas.
The present article contains three parts. In the first part, nine Phase I and II works are
compared with Gandhāran sculpture. We find similarities in terms of imagery. In both,
particular attention is paid to symmetry and balance. Most of the images in the
Yungang Grottoes are uncomplicated, with prominent themes. The second part
focuses on Caves 9 and 10, which contain nine relief images depicting Nidāna stories
from the Za baozang jing 雜寶藏經 (Skt. Saṃyuktaratnapiṭaka sūtra), as well as a
series of sculptures and painting depicting an episode from the Liu du ji jing 六度集
經. These are representative works of the Phase II sculptures in the Yungang Grottoes,
which depict stories from different Buddhist scriptures. These works, especially
through different forms and placements of the figures involved, depict the course of
events in the stories, showing rarely seen features of artistic design of Phase II. The
third part of this paper analyzes twenty images depicting the life stories of the Buddha,
Nidāna, or Jātaka stories in the Yungang Grottoes. It comes to the preliminary
conclusion that the style and form in Phase I were not influenced by the “Liangzhou
Mode” method of |
|---|
| 目次 | 一、前言 353
二、雲岡和犍陀羅某些佛教因緣和佛傳雕刻內容比較 354
（一）阿輸迦（阿育）王施土因緣
（二）善慧仙人（儒童）授記像
（三）摩耶夫人樹下誕生太子
（四）九龍浴太子
（五）阿私陀仙人占相
（六）耶輸陀羅入夢 悉達多太子思惟
（七）釋迦深山苦修證正道
（八）釋迦降魔成正道
（九）鹿野苑說法
三、雲岡第9、10雙窟《雜寶藏經》的因緣和本生故事 366
（一）天女本以華散佛成華蓋緣
（二）兄弟二人俱出家緣
（三）尼乾子投火聚為佛所度緣
（四）八天次第問法緣
（五）鬼子母失子緣
（六）須達長者婦供養佛獲報緣
（七）提婆達多欲毀傷佛因緣、吉利鳥緣
（八）婦女厭欲出家緣
（九）佛在菩提樹下魔王波旬欲來惱佛緣
（十）大光明王始發道心緣品
（十一）睒道士本生
四、雲岡石窟第一、二期佛教形象造型風格源流初探 377
五、結語 383 |
|---|
| ISSN | 10177132 (P) |
|---|
| 研究類別 | 石窟 |
|---|
| 研究時代 | 南北朝-北朝-北魏 |
|---|
| 研究地點 | 山西(大同雲岡石窟) |
|---|
| 點閱次數 | 2816 |
|---|
| 建檔日期 | 2006.12.08 |
|---|
| 更新日期 | 2018.02.27 |
|---|
 |
建議您使用 Chrome, Firefox, Safari(Mac) 瀏覽器能獲得較好的檢索效果，IE不支援本檢索系統。
|
|
