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曇曜五窟石窟形制與造像風格研究=A Study of Five Caves of Tan-Yao: Focus on Cave Structure and Sculpture Style |
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| 著者 |
張加欣 (撰)=Chang, Chia-hsing (compose)
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| 出版年月日 | 2020 |
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| ページ | 234 |
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| 出版者 | 國立臺灣大學 |
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| 出版サイト |
https://www.ntu.edu.tw/
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| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| 資料の種類 | 博碩士論文=Thesis and Dissertation |
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| 言語 | 中文=Chinese |
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| 学位 | 修士 |
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| 学校 | 國立臺灣大學 |
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| 学部・学科名 | 藝術史研究所 |
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| 指導教官 | 李玉珉 |
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| 卒業年 | 108 |
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| キーワード | 雲岡石窟=Yun Kang Caves; 曇曜五窟=Five Caves of Tan Yao; 北魏=Northern Wei; 石窟形制=Cave Structure; 佛教造像=Buddhist Sculpture Style |
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| 抄録 | 雲岡石窟位於今山西省大同市西十六公里武州山的南麓，舊稱武州山石窟、靈巖寺石窟，是《魏書．釋老志》中明文記載開鑿年代與原因的皇家石窟。而曇曜五窟是雲岡石窟首先開鑿的五個大型石窟，也是文成帝復興佛教的一項重要工程。曇曜五窟位於雲岡石窟群的西端東側，由西到東分別為第20、19、18、17、16窟，石窟方位皆坐北朝南。除第20窟前壁已崩毀外，整體在石窟外觀具有一致性，且石窟內部皆塑一尊高達十餘米的大像。雲岡石窟的考古報告或是專題研究上皆有豐富的研究成果，然而針對曇曜五窟的討論筆者認為猶嫌不足。曇曜五窟不論在石窟形制或尊像風格上皆與第二期石窟有顯著差異，這些特色的來源為何？以及五窟在石窟形制與造像風格表現上究竟是否有一致性？將是本文的研究重點。
本論文對於五窟的石窟形制以及五窟的造像詳加分析，筆者以為曇曜五窟與北魏歷史發展關係密切，其風格表現透過吸收涼州、河北以及西域等地的特色，以及可能參考遠至印度的石窟元素，並加以轉化，形成了曇曜五窟自身一致且獨特的風格和特色。雖然五窟的造像集結了來自不同區域的表現風格，但這些特質在曇曜五窟的造像上融合一體，並無拼湊的違和感。然而其風格縱使獨特，綜觀北魏470至490年的佛教建設，在石窟形制和造像風格上，皆很難看見承襲自曇曜五窟的風格表現，因而說明，雲岡第一期的造像對其他地區並未產生太大的影響，也就是說雲岡第一期窟對於北魏中期的佛教藝術影響有限。無論如何，在石窟形制與造像風格上，毫無疑問可見曇曜五窟的獨特性和原創性，並可將其特徵歸納為「第一期雲岡元素」。
Yun-Kang Caves are located at the southern side of Wuzhou Mountain, 16 kilometers west of Datong City, Shanxi Province. It was formerly known as Wuzhou Mountain Caves (武州山石窟) or so called Lingyan Temple Caves (靈岩寺石窟). It was found in Wei Shu Shi Lao Zhi (魏書釋老志) that clearly recorded the time and reason of the excavation of these royal grottoes. The Five Caves of Tan-Yao were the first five large-scale caves excavated in Yun-Kang Caves, and it was such an important project done soon after Emperor Wencheng (文成帝) revived Buddhism. These five caves are located on the right side of the west end of the Yun-Kang Caves. From west to east, they are the 20th, 19th, 18th, 17th, and 16th caves. Except for the collapse of the front wall of Cave 20, the overall appearance of the cave is consistent, and inside the cave all has a large statue of more than ten meters high. Rich research results has been made in the archaeological report or on specific issue of Yun-Kang Caves. However, the author thinks that the discussion on the Five Caves of Tan-Yao is still insufficient. There are significant differences in the form of the caves and the style of statues between Five Caves of Tan-Yao and the second period of Yun-Kang Caves. Therefore what are the origins of these characteristics? Could it be possible that Five Caves of Tan-Yao has the consistency on style? These are the main focus of this article.
This thesis analyzes the cave structures and styles of sculptures in the Five Caves of Tan-Yao thoroughly. The author believes that the five caves are closely related to the historical development of the Northern Wei Dynasty. Its style was expressed by absorbing the characteristics of Liangzhou, Hebei, and the Western Regions, and may refer to as far as some of the elements in Indian grottoes. All of the above have been transformed by its own to form the consistent and unique style and characteristics of the Five Caves of Tan Yao. Although the statues of the Tan-Yao caves combined several styles from different regions, these characteristics are well integrated, as shown on the statues of the five caves. Despite the fact that it has unique style , look through the Buddhist constructions over 470 to 490 of the Northern Wei Dynasty, it is difficult to see the style of the five caves been presented or recreated. It sure means that the first period of Yun-Kang Caves had limited impact on Buddhist art in the mid-Northern Wei Dynasty. In any case, there is no doubt that the uniqueness and originality of the Five Caves of Tan Yao can be seen in the form of grottoes and style of the sculpture. Thus, these characteristics can be summarized and known as "the first period of Yun-Kang elements." |
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| 目次 | 口試委員審定書 I
致謝辭 II
摘要 III
ABSTRACT IV
緒論 1
研究動機 1
研究回顧 2
研究主旨 15
第一章 曇曜五窟年代與原始設計 17
第一節 曇曜五窟的開鑿年代與歷史背景 17
第二節 曇曜五窟的內容與原始設計 22
小結 50
第二章 曇曜五窟的石窟形制 52
第一節 曇曜五窟石窟形制特色 52
第二節 石窟形制來源 53
第三節 曇曜五窟窟形之影響 60
小結 63
第三章 曇曜五窟的造像風格研究 66
第一節 曇曜五窟的造像特色 66
第二節 造像風格來源 71
第三節 曇曜五窟造像之影響為何？ 84
小結 95
結論 98
參考書目 101
圖版出處 107
參考圖版 129
參考表格 228 |
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| ヒット数 | 240 |
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| 作成日 | 2021.11.25 |
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| 更新日期 | 2023.01.16 |
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