|
|
|
 |
|
|
|
|
|
|
宋代禪僧觀音畫贊研究=A Study of Buddhist Monastic Poetries on Guanyin Paintings of Song Dynasty |
|
|
|
| 著者 |
陳昭伶 =Chen, Char-ling
|
|---|
| 出版年月日 | 2015 |
|---|
| ページ | 380 |
|---|
| 出版者 | 玄奘大學 |
|---|
| 出版サイト |
https://www.hcu.edu.tw/hcu/zh-tw
|
|---|
| 出版地 | 新竹市, 臺灣 [Hsinchu shih, Taiwan] |
|---|
| 資料の種類 | 博碩士論文=Thesis and Dissertation |
|---|
| 言語 | 中文=Chinese |
|---|
| 学位 | 博士 |
|---|
| 学校 | 玄奘大學 |
|---|
| 学部・学科名 | 中國語文學系碩博士班 |
|---|
| 指導教官 | 羅宗濤 |
|---|
| 卒業年 | 103 |
|---|
| キーワード | 宋代=Song Dynasty; 禪僧=Chan monks; 觀音=Guanyin; 觀音像=Guanyin images; 畫贊=painting poetries |
|---|
| 抄録 | 禪宗不立文字，教外別傳，以期「直指人心，見性成佛」；非向有形的佛菩薩像祈求，而是向內觀照，面對有形的觀音畫像，禪僧是有所思、有所想或悟得清淨自性，達到「觀境自如如」的境界。透過觀音文學畫贊作品的解析，可知禪僧詩人所理解、契入的觀音內涵，以及他們所體悟的心靈境界，有助於了解當時觀音信仰之內涵。
觀音像的外形是佛菩薩變化最為豐富的一位，而宋代是中國歷史上的文藝復興與經濟革命的時代。宋代觀音繪畫風格有明顯改變，繪畫觀音的藝術家們，在創作中必定也是反應了當時所流行的這種概念。藉由禪僧所書寫觀音畫贊，有助於了解當時觀音流傳之形象與信仰之內涵；探討那圖像外形的特徵、含義，也可瞭解佛教與中國藝術的深厚關係。
《全宋詩》中收錄禪僧大量作品，其中有一大類為佛菩薩聖像畫贊，內容相當生動活潑，贊體可說在佛教煥發新的活力，卻鮮少學者研究。本文專就《全宋詩》及《全宋詩訂補》檢出兩宋禪僧所題之觀音畫贊，予以討論。
觀音信仰的體系，在中國由於所依據的佛典文獻系統不同，因而觀音信仰也呈現了不同形象與思想。筆者一方面從佛教史的角度切入，以縱剖面的軌跡來追溯觀音信仰發展的面貌；另一方面再從宗教本質內涵切入，比對不同的經典，以橫剖面的分析，一究宋代破相之禪宗中觀音信仰概況，邁向整體架構的核心。本文首先探討漢傳觀音信仰源流與發展，綜論宋代禪僧畫贊中觀音信仰形象、造形、思想，藝術形式，以掌握觀音畫贊之藝術形式與特色，進一步探討觀音畫贊中的美學觀，最後分析宋代觀音畫贊對當代與後世的價值及影響。
Chan Buddhism teaches a "special transmission outside scriptures" which "does not dependent on words and letters". Chan Buddhism aims at “direct pointing at human mind; seeing into the nature to attain Buddhahood”. For Chan moanstics, the image of Guanyin serves a meditative purpose rather than a ritualistic aspect. Meditating on Guanyin paintings, Chan monastics look deeply into themselves, attempting to attain a reflective, purified and mindful state. Analyzing Buddhist monastic poetries on Guanyin paintings will reveal the depth of the monastics’ spiritual attainment and their understanding of Guanyin Bodhisattvahood. It will also reveal the culture of Guanyin worship of the time.
Images of Guanyin are the most diversified among images of buddhas and bodhisattvas. The Song Dynasty experienced great economic and cultural renaissance. Styles of Guanyin paintings revolutionized. Examining monastic poetries on Guanyin paintings will help to understand the artistic trend of Guanyin image and the inspiration of Guanyin worship of the time. In addition, examining the characteristics and meanings of Guanyin paintings will help to understand the relationship between Buddhism and Chinese art.
The Collection of Song Poems contains a large number of works by Buddhist monastics. Among those poems, a great number are written on paintings of buddhas and/or bodhisattvas. They are called “zanti”, vivid and expressive. Zanti brings a new form of life into Buddhism but rarely gains academic attention. This research will study two Buddhist monks’ poetries on Guanyin paintings in The Collection of Song Poems and A Supplement to The Collection of Song Poems.
Chinese Buddhism, according to different emphasis on different Buddhist canons, evolves into different Guanyin worship systems and each exhibits different images and thoughts. In this paper, I will examine the development of Guanyin worship through the historical aspect. I will also investigate Guanyin worship through religious aspect, by comparing different canonical discourses in order to understand the essence of Guanyin worship as well as the phenomenon of Guanyin worship in the Chan tradition. This paper will firstly explore the history and development of Guanyin worship by discussing the Guanyin images, expressed ideas and art styles in Song monastic zanti. This will reveal the characteristics and aesthetics in Guanyin zanti. Finally, this paper will discuss the value and influence of Guanyin zanti in Song Dynasty. |
|---|
| ヒット数 | 788 |
|---|
| 作成日 | 2022.10.05 |
|---|
| 更新日期 | 2023.01.06 |
|---|
 |
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。
|
|
|
