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地藏十王圖像之研究=Iconography of Kshitigarbha and the Ten Kings |
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| Author |
王鍾承 (著)=Wang, Chung-cheng (au.)
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| Date | 1999 |
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| Pages | 164 |
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| Publisher | 國立藝術學院 |
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| Publisher Url |
https://w3.tnua.edu.tw/
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 中文=Chinese |
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| Degree | master |
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| Institution | 國立藝術學院 |
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| Department | 美術研究所 |
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| Advisor | 林保堯 |
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| Publication year | 87 |
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| Keyword | 王鍾承; Wang, Chung-cheng; 佛教圖像; 地藏菩薩=地藏王菩薩=Kshitigarbha=Jizo Bodhisattva; 十王; 民俗信仰; 四川; 敦煌 |
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| Abstract | 「地藏十王信仰」在東亞地區流行的時間已經超過一個千紀，因具有庶民信仰之特質博得廣大群眾的信賴，其影響的範圍可與觀音信仰媲美。佛教地獄思想之傳入引發此信仰的發芽，經過長時間儒、釋、道等各類宗教元素的發酵、混融，在唐代形成一股信仰熱潮，終而成為中國喪葬文化中不可或缺的一環。原初面貌的「地藏十王信仰」似乎可由現存唐末至宋代的「地藏十王圖像」一窺究竟，本文擬就其發展及其所代表的意義，探索中世紀面對死亡的因應之道；剖析敦煌和四川地區造像之間的關係，進一步理解其文化交流的狀況和中原文化之傳輸邊陲的變化；同時亦考索盛行於唐宋的淨土教對「地藏十王信仰」作何關鑑性的改變，使其信仰熱潮至今不曾衰減。
現存的「地藏十王圖像」最早可追溯至唐末，而多集中在五代、北宋初年，也就是西元第十世紀，然保存狀況較佳和為數較多而完整之處則以敦煌和四川地區為最，同時，四川的造像亦延續至南宋，故本文基本上是以上述兩地的造像為主要的討論材料。本文的研究重點分別說明於下：1.圖像產生的背景2.敦煌與四川造像的關係3.以文獻解讀圖像和圖像之傳承。
The belief in Dicang (skr. Kshitigarbha) and the Ten Kings lasts for over one thousand years in East Asia. Its characteristics of popular cults make people believe widely and faithfully. The popularity of this belief can be compared with that of Kuan-yin belief. This belief was originated from buddhist concept of the hell, and derived from the popular cults of many other religions in China, such as Taoism and Confucianism. It became more and more popular, so that it is very important for the funeral rites.
The nowadays preserved works of art of "Kshitigarbha and the Ten Kings", which was created during the end of Tang Dynasty (618-907) and Song Dynasty (960-1279), present the beginning of the belief in "Dicang and the Ten Kings". Although they can be traced from the end of Tang Dynasty, most of works are dated in Five Dynasties and the beginning of Song Dynasty, this means 10th Century. The majority of the well-preserved works is in Dunhuang and the Sichuan region. Furthermore the sculpture in Sichuan kept on being created even in the Southern Song Dynasty (1127-1279).
My thesis focuses on their development and meanings. Iconography is to approach this issue in order to explore the Chinese attitude in medieval period while encountering death. It will analyze the relations of works between Dunhuang and Sichuan to visualize cultural exchanges and iconographic transformations from Central Plain. At the same time, I am also going to take the buddhist thought of Western Paradise into account, which gained its prosperity in Tang and Song Dynasty. The Adoption of this thought is a turning point that makes the belief in "Kshitigarbha and the Ten Kings" last.
This thesis is to cover the following three areas:
1. The background of iconography.
2. The iconographic analysis of "Dicang and the Ten Kings".
3. The relations of the works from Dunhuang and Sichuan |
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| Table of contents | 第一章 序論 1
第一節 問題的提出 1
第二節 研究回顧 2
第三節 本文結構 6
第二章 地藏十王信仰的形成 8
第一節 地藏信仰 9
第二節 十王信仰 17
第三節 十王信仰與地藏信仰的結合 37
第四節 小結 40
第三章 地藏十王圖的造像遺例 42
第一節 敦煌造像遺例 43
第二節 四川造像遺例 60
第三節 敦煌與四川造像之關係 66
第四節 產生關係之原因 71
第四章 地藏十王圖像的意義 80
第一節 圖像意義 80
第二節 地藏十王圖像與淨土信仰 96
第五章 結論 102
附錄一:《十王經》寫本之比對 106
附錄二：敦煌地區石窟壁畫〈地藏十王圖〉之位置
及其相關圖像一覽簡表 111
附錄三：敦煌〈十王經卷〉和四川大足寶頂
第20號龕相關讚文之比較一覽表 115
參考書目 117
圖版目錄 124
圖版 129 |
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| Hits | 1093 |
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| Created date | 2000.11.23
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| Modified date | 2023.01.17 |
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