|
|
|
 |
|
|
|
|
|
|
萬神方胙壽有餘－清乾隆雕漆神像經匣的道釋神譜與寫經供養=Worshipping Myriad Gods for Auspicious Efficacy: Carved Lacquer Boxes with the Qianlong Emperor's Religious Pantheons and Enshrined Scriptures |
|
|
|
| 著者 |
詹鎮鵬 (著)=Zhan, Zhen-peng (au.)
|
|---|
| 掲載誌 |
國立臺灣大學美術史研究集刊=Taida journal of art history, National Taiwan University
|
|---|
| 巻号 | n.50 |
|---|
| 出版年月日 | 2021.03.01 |
|---|
| ページ | 97 |
|---|
| 出版者 | 國立臺灣大學藝術史研究所=Graduate Institute of Art History, National Taiwan University |
|---|
| 出版サイト |
http://homepage.ntu.edu.tw/~artcy/
|
|---|
| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
|---|
| 資料の種類 | 期刊論文=Journal Article |
|---|
| 言語 | 中文=Chinese |
|---|
| キーワード | 乾隆皇帝=Emperor Qianlong ; 道教=Daoism ; 藏傳佛教=Tibetan Buddhism ; 雕漆神像 carved lacquer pantheon; 寫經供養=transcribed scripture offerings; 宗教聖物=religious sacred objects |
|---|
| 抄録 | 學界對清代（1644－1912）皇室與佛教的互動展開全面考察。清宮宗教藝術之研究向來以藏傳佛教為重心，涉及京城內外建造的一系列六品佛樓以及數量眾多的造像和法器。滿清帝王對其他宗教傳統的認知，囿於傳世文物及史料不足，一直難以深入探討。乾隆早期，皇帝交蘇州織造訂製一批供養御筆寫經的雕漆匣，器表雕刻之神像是道教與佛教視覺文化在清宮交融的稀見材料，迄今仍乏人關注。本文先分析經匣樣式及神譜構成，藉助造辦處活計清檔去重組其設計過程，再結合高宗的寫經活動與供奉場景，比較他在兩大宗教的供養人角色。經匣設計與御書經冊相配合，供奉於紫禁城內多間道教宮觀及佛堂，表明官方宗教活動的重心雖然在於藏傳佛教，道教仍是皇室祭祀不可或缺的組成部分。雕漆神譜濃縮了乾隆皇帝對佛道二教的宇宙觀，反映其常年定期抄經、事神禮佛，祈求靈驗之虔敬心態。神像經匣與寫經共同構建宗教聖物，作為頭位供奉品的重要性延續至清末，除為帝王個人祈福延壽之外，亦具有護國佑民的作用。
Drawing on a series of Six-class Buddhist Pavilions constructed in Beijing and beyond, as well as abundant statues and ritual implements enshrined inside them, recent scholarship on religious art at the Qing (1644-1912) court has mainly focused on the dynamic relationship between the imperial household and Tibetan Buddhism. Due to the lack of extant artifacts and archival sources, the question of how Manchu Qing rulers perceived other religious traditions has yet to be fully explored. During the early Qianlong reign, a set of carved lacquer boxes were imperially commissioned in Suzhou to encase Daoist and Buddhist scriptures transcribed by the Qianlong emperor. Carved images of numerous deities decorated on lacquer surfaces serve as rare evidence of the convergence of Buddhist and Daoist visual cultures at the Qing court, and they still remain obscure. This article first analyzes the style and deity formations of the scripture boxes, contextualizing their production in light of the Archives of the Imperial Workshops (Qinggong Neiwufu zaobanchu dang'an zonghui). It then reconstructs the distinct roles of Daoism and Buddhism in imperial patronage by focusing on Qianlong's scripture transcriptions and their interior displays. Elaborately designed and combined as a whole, the lacquer boxes and imperially transcribed scriptures served as religious offerings enshrined at various Daoist and Buddhist temples in the Forbidden City. Despite the official emphasis on Tibetan Buddhism, Daoism was an integral part of court rituals of the time. The Daoist and Buddhist pantheons on lacquer boxes offer a glimpse of Qianlong's religious cosmology, as reflected in his regular scripture copying and devout prayers to myriad deities for merit-making and efficacy. As the most important offerings until the downfall of the Qing dynasty, together they constitute the sacred objects that offered blessings and protection not only for Qianlong himself but for the empire under the Manchu rule. |
|---|
| 目次 | 前言 1
一、全景式神譜:神祇組合與構圖風格 5
(一)道經匣神譜構成 5
(二)佛經匣神譜構成 8
(三)構圖佈局之風格 11
二、雕漆神像之樣式:漢式設計與品質管控 13
三、供經事神:節令抄經與供養祈福 19
(一)御書道教黃庭經 19
(二)御書佛經 23
四、萬神庇佑:神像經匣在清宮的聖物象徵 28
結論 35
引用書目 45 |
|---|
| ISSN | 10232095 (P) |
|---|
| DOI | 10.6541/TJAH.202103_(50).0001 |
|---|
| ヒット数 | 577 |
|---|
| 作成日 | 2021.12.07 |
|---|
| 更新日期 | 2021.12.16 |
|---|
 |
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。
|
|
|
