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菩薩的嚴飾敦煌莫高窟第57窟南壁的觀音畫像上的瓔珞的探討=The Glorious Garlands Of BodhisattvaA Study Of The Adornments Based On TheAvalokiteśvara Image On The South Wall Of TheCave 57 In Mogao Grottoes |
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| 著者 |
劉玉蓮 (著)=Lau, Yuk-lin (au.)
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| 出版年月日 | 2017 |
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| ページ | 136 |
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| 出版者 | 佛光大學 |
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| 出版サイト |
https://website.fgu.edu.tw/
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| 出版地 | 宜蘭縣, 臺灣 [I-lan hsien, Taiwan] |
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| 資料の種類 | 博碩士論文=Thesis and Dissertation |
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| 言語 | 英文=English |
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| 学位 | 修士 |
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| 学校 | 佛光大學 |
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| 学部・学科名 | 佛教學系 |
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| 指導教官 | 潘示番 |
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| 卒業年 | 105 |
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| キーワード | 瓔珞=Garlands; 觀音像=Avalokiteśvara image; 珠寶=Jewelries; 莫高窟壁畫=Murals in Mogao Grottoes; 絲綢之路=Silk Road |
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| 抄録 | 莫高窟地處敦煌市二十五公里外的鳴沙山腳東面。自漢代絲綢之路的開通，敦煌位處絲綢之路上的「咽喉之地」，成為中西文化，人民及商業交流之重要位置，當中佛教亦經此地傳到東土。石窟群全長一千六百八十多米，自第一個石窟的開鑿起，超過十個世紀的時間建造。根據敦煌研究院資料，莫高窟在南區有四百九十二個石窟，主要是以佛教的禮佛活動的用途，而北區石窟則是以禪修窟為主，是修行人修道生活的地方，約二百四十多個。
南區的石窟中蘊藏了大量的彩繪塑像及壁畫等藝術品，當中大多以佛教為題材，這些藝術品包含大量的佛教資料供學者研究。最少有一半石窟是在唐代建造的，是中國歷史上其中一個強盛的時期。從這些壁畫及塑像，可以追溯及探究到石窟唐代盛世的文化，環境及社會交流等資訊。
對於佛教藝術的鍾愛，緣起於遇到一件對於筆者有著重要意義的作品，一幅莫高窟內的壁畫複製品。由此令本人見識到原來在偏遠的荒漠中隱藏著的藝術品。佛教藝術豐富了的人生體驗，尤其是佛教的石窟藝術。
本論文會以影響筆者最深的菩薩像 – 莫高窟第57窟南壁上所繪的觀世音菩薩像為對象。第57窟是初唐時期開鑿於約公元618-709年間。畫像中萻薩的表情寧靜，身上戴了的珠寶(佛教稱菩薩戴的珠寶為瓔珞)。當實地在莫高窟參訪時，畫中菩薩身上的瓔珞，在手電筒照射下閃閃生光，那時空交錯的情景，啟發筆者探索這些瓔珞的含意。
菩薩是梵文「菩提薩埵」的簡稱，直譯是「覺有情」，意即已覺悟的有情眾生。既是已覺悟的人，為何仍要穿戴珍貴的瓔珞?壁畫中的菩薩像所戴的珠寶是有那些種類?瓔珞當中蘊含什麼意義?依據漢傳佛教的經典，焦點是探討瓔珞與基本佛學的關係。
Mogao Grottoes (Mogaoku, 莫高窟), located 25 kilometers southeast of Dunhuang city, at the east of the foot of Mountain of Sounding Sand (Mingsha shan, 鳴沙山). Since the opening of the Silk Road (Sichou zhilu, 絲綢之路 or abbreviated as Silu, 絲路) in the Han dynasty, Dunhuang has been the “throat’ of the ancient Silk Road, demonstrated the important position of cultural, people and trade exchange between East and West, including the spread of Buddhism. The caves spanning over 1680 meters long and were built over 1000 years since the first cave was excavated. According to the Dunhuang Academy, the Mogao Grottoes consists of 492 caves in the southern sections which were for Buddhist worshipping rituals and activities. 243 caves were built in the northern section for the monks and practitioners to live in and practice.
In the southern section, vast amount of artworks and creations including painted statues and murals were found, most of them of Buddhist topics, making it a rich source information on Buddhism for scholars and researchers. At least half of the caves and artworks were created during the Tang dynasty, when China had it’s one of the highest time in their history. Through the murals and statues, much information can be retrieved about prosperity of the Tang dynasty, the culture, environment and social interaction of the time as the creation and craftsmanship reflected the time they were being created.
I fell in love with Buddhist Arts since the encounter with the most significant art pieces – the reproduction painting of a mural in Mogao cave. Here, it was significant as in the sense to me in the marking of learning about this hidden creations and artworks in the deserted area and hence led to a life with extraordinary experiences with Buddhist Arts, especially of arts in Grottoes and Caves.
In this thesis, I will look into the mural that impact my life most, the Avalokiteśvara Bodhisattva image on the south wall of the Mogao Cave 57. The cave was created in the early Tang dynasty (618-714 CE). The facial expression of the Avalokiteśvara image is calming and heavily adorned with the jewelries and accessories, also known as garlands (yinglou, 瓔珞) in Buddhism if the jewelries and accessories are worn by a Bodhisattva. During my first visit to Dunhuang and saw the actual mural in this cave, when the gold glittering of the garlands with the light from my torch, the staggered of time and space, deeply touched and inspired me to search the messages behind these garlands.
Bodhisattva is a Sanskrit term, meaning “enlightened sentient being”: why the need for someone who has been enlightened to wear those precious garlands? What kinds of jewelries it is wearing as shown in the image? What is the significance of the garlands? Based on the Chinese Buddhist scriptures, my attempt is to focus on revealing the significance of the garlands and their relationship with the Buddhist teachings. |
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| 目次 | ABSTRACT I
題要 IV
DEDICATION VI
ACKNOWLEDGEMENT VII
CONTENTS IX
TABLES & FIGURES XI
ABBREVIATIONS XVII
CHAPTER 1: INTRODUCTION 1
1.1. Research Motive 1
1.2. Buddhism and Silk Road 2
1.3. Dunhuang and Silk Road 4
1.4. Dunhuang and Mogao Grottoes 5
1.5. Mogao Grottoes and Kizil Caves 6
1.6. Review of Previous scholarship 9
1.6.1. Statues and Statue Groups 9
1.6.2. Murals 10
1.6.3. Textual and Language 11
1.6.4. Music and Dance 11
1.7. Research Approach 12
1.7.1. Historical and Geographical Background of Dunhuang 12
1.7.2. Buddhist Arts in Kizil Caves in Kucha 13
1.7.3. Development of Garlands 13
1.7.4. Underlying Buddhist Teachings or Messages in the Image 14
CHAPTER 2: THE DEVELOPMENT OF THE IMAGE OF BODHISATTVA 15
2.1. The origin of the concept of Bodhisattva 15
2.2. The development of the image of Bodhisattvas 16
2.2.1. Historically 19
2.2.2. Geographical aspects 19
2.3. The symbolic features on various Bodhisattvas 20
2.3.1. Image of Avalokiteśvara 21
2.3.2. Image of Mañjuśrī 23
2.3.3. Image of Samantabhadra 24
2.3.4. Image of Kṣitigarbha 25
2.4. The Development of Avalokiteśvara Images In Tang Dynasty based in Mogao Grottoes 26
2.4.1. Comparison Avalokiteśvara Images during Early Tang 28
2.4.2. Comparison Avalokiteśvara Images from High and Mid Tang Dynasty 32
2.4.3. Summary 36
CHAPTER 3: BUDDHIST CULTURE IN THE OASIS TOWNS ON SILK ROAD 37
3.1. Spread of Indian Culture 37
3.2. Influence from Gandhara Area 39
3.3. Oasis towns on Silk Road 44
3.4. Kucha – the Centre of Buddhism 45
3.4.1. The garlands and adornment 47
3.4.2. The colors used on the paintings 49
3.4.3. The forms of images 51
CHAPTER 4: MEANING OF THE GARLANDS OF THE AVALOKITEŚVARA IMAGE ON THE SOUTH WALL OF CAVE 57 IN MOGAO GROTTOES 54
4.1. The Pure Lands 59
4.2. Relationship between Pure Lands and Precious Jewels Based on the Chinese Buddhist Scriptures 61
4.2.1. Transformation of the Sūtra of the Bhaiṣajyaguru 61
4.2.2. Transformation of the Sūtra of the Western Pure Land 66
4.2.3. Transformation of the Sūtra of Maitreya 70
4.2.4. Summary 75
4.3. Meaning of Garlands mentioned in the Chinese Buddhist Sūtras 76
4.3.1. Pure Lazuli World in the East 77
4.3.2. Ultimate Bliss World in the West 83
4.3.3. Pure Land of Maitreya (彌勒佛國) and Inner Palace of Tuṣita Heaven 88
4.3.4. Summary 92
4.4. Symbolic Meanings of The Garlands on Avalokiteśvara Image in Cave 57 of Mogao Grottoes 93
4.4.1. The Seven Precious Treasures 96
4.4.2. On the Image of Avalokiteśvara on the south wall of cave 57 101
CHAPTER 5: CONCLUSION 109
BIBLIOGRAPHY 112
Primary Sources 112
Secondary Sources 113
Internet Resources and Database 116 |
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| ヒット数 | 730 |
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| 作成日 | 2022.09.29 |
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| 更新日期 | 2023.02.10 |
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