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初期佛教象徵圖像研究：以山琦（Sāñchī）佛塔為例=A Study of the Symbolic Reliefs and Structures Applied in the Monuments of Sāñchī in the Period of the Early Buddhism |
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| 著者 |
戴裕 (著)=Tai, Yu (au.)
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| 出版年月日 | 2008 |
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| ページ | 234 |
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| 出版者 | 真理大學 |
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| 出版サイト |
https://www.au.edu.tw/
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| 出版地 | 新北市, 臺灣 [New Taipei City, 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 | 真理大學 |
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| 学部・学科名 | 宗教學系碩士班 |
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| 指導教官 | 林保堯、林煌洲 |
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| 卒業年 | 96 |
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| キーワード | 初期佛教=Early Buddhism; 山琦佛塔=the monuments of Sāñchī; 阿含經=Āgama Sūrta; 無偶像論=aniconism; 象徵圖像=symbolic relief; 佛塔=stūpa; 菩提樹=bodhi-druma |
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| 抄録 | 本研究主要探討印度初期佛教的象徵圖像特色，以山琦佛塔遺址為例，試圖了解象徵圖像背後所代表的印度文化與宗教的意義與內涵。値得注意的是，象徵圖像的主題多與佛陀生平事蹟密切相關，尤以佛陀四相(出生─蓮花、成道─菩提樹、說法─法輪、涅槃─佛塔)的象徵圖像為主，而本研究則將探討的對象集中在佛塔(stūpa)和菩提樹(bodhi-druma)二個主要象徵圖像。
針對刻畫在山琦第一大塔、二塔及三塔的塔門與欄楯等雕刻圖像，藉由文獻、經典和印度美術史為主要架構，佐以圖像學和類型學的研究方法，以解析佛塔和菩提樹象徵圖像的圖像學特色在印度共同傳統文化中的地位與重要性，以及在初期佛教的歷史意涵與發展。最後，筆者試圖對應初期佛教象徵圖像「無偶像論」(aniconism)特色與現今佛教偶像崇拜特色，將兩者並列比較以反思宗教象徵圖像之意義。
透過以上的研究歷程，得到以下的相關研究結果：
1、初期佛教的宗教美術觀為「無偶像論」，此時期的佛陀觀仍為真實存在於歷史中的聖者，捨肉身進入般涅槃(parinirvāṇa)，意味著佛陀形像的不可替代性，僅能以象徵圖像來暗示佛陀的存在。
2、象徵圖像所展現的是單純的圖像，多為「禮拜」的構圖形式，常作為供養者的禮拜中心，並以尊貴的傘蓋、花環、幡旗等裝飾其上，以表其神聖性。
3、「佛塔」源自喪葬儀禮，而作覆鉢式塔樣，於佛陀涅槃後，八王八分舍利並各自起立造塔，後世阿育王又廣增建塔，以宣告法王教化之意涵，有轉輪聖王之象徵。因此，佛塔象徵圖像是以初期佛塔建築為原型，其內含藏佛陀舍利或聖物，故象徵著佛陀，亦象徵佛陀的涅槃，是為佛陀成道覺悟的最終實踐象徵。
4、「菩提樹」源自聖樹崇拜，古印度即有樹下思惟的傳統，而佛陀在尼連禪河旁的菩提樹下降魔成道而成等正覺，故具有智慧之樹、覺樹的意涵。因此，菩提樹象徵圖像常以單一聖樹、空座或欄楯相互組合出現，以表其神聖性，象徵著佛陀的成道，亦是見證佛陀覺悟成道的決心之象徵。
The primary objective of this study are to investigate the feature of symbolic reliefs of early Buddhism of India, and it should attempt to illustrate with the monuments of Sāñchī, trying to appreciate the Indian culture as well as religious significance and context behind the symbolic reliefs. What is worthy notice is that the theme of symbolic reliefs are, for most of them, very closely related to the life events of Buddha, especially linked to the symbolic reliefs of life of Buddha (birth—lotus, enlightenment—bodhi-druma, teaching—dharmacakra, death—stūpa). And this study would mainly investigate the two major symbolic reliefs as stūpa and bodhi-druma.
In view of the sculptured imaged found at gateways (toraṇa) and railings (vedikā) of great stupa, stupa 2, and stupa 3 at Sāñchī, the study would primarily be conducted with literature and arts history of India, supplemented with research methodology of iconography and typology so as to appreciate the status and importance of iconography features of stūpa and bodhi-druma in the common traditional culture of India as well as its historical significance and development in early Buddhism. At the end, the author would try to correlate the features of symbolic relief of ancionsim from early Buddhism with that of idol-worship of contemporary Buddhism so as compare the meaning and significance of anti-religious symbolic relief.
From the above-mentioned research processes, relevant results of research can be thus obtained as followed:
1. Religious concept of arts in early Buddhism is of “aniconsim,” and the while the concept of Buddha remains real and authentic as found saints of history. When one gives up flesh and enters parinirvāṇa, it indicates such irreplaceability of Buddha image, and the existence of Buddha can only be suggested with symbolic relief.
2. What symbolic relief can demonstrate is but of simple image, and they are mostly found in “worshipping” manner of composition, acting as the worshipping center of providers. Furthermore, majestic umbrella (chattra), garland, and streamer are used for decoration to display its sacredness.
3. “Stūpa’ can be found its origin from funeral service. And it was after parinirvāṇa of Buddha it is turned into the hemispherical dome, and each portion of relic is given to the eight kings and each built their own stūpa. Later on, King Aśoka had built up with extensive stūpa to proclaim the meaning of Lord of Dharma for education and teaching, given with the symbol of chakravartin. Therefore, the symbolic relief of stūpa is founded on the architecture of early Buddhism as its prototype, with relic or sacred object in it. As such, it symbolizes Buddha, or parinirvāṇa of Buddha, such being the ultimate symbol of realization of attained Samma Sambodhi of Buddha.
4. “Bodhi-druma” can be traced to the worshipping of sacred tree, and there has been such tradition in ancient India of meditation under tree. Since Buddha has conquered devil and enlightenment under bodhi-druma by River Nairañjanā, it is then given with the significance of tree of wisdom or tree of enlightenment. Hence, the symbol of bodh |
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| 目次 | 第一章 緒論
第一節 研究動機與目的 1
第二節 研究範圍與方法 3
第三節 研究文獻回顧 7
第四節 研究架構 10
第二章 初期佛教之宗教美術觀
第一節 佛陀前之宗教美術 13
第二節 印度初期佛教美術 25
第三節 山琦佛塔遺址美術 43
小結 57
第三章 初期佛教象徵圖像－佛塔
第一節 佛塔圖像解析 58
第二節 歷史文化發展 66
第三節 經典宗教意涵 75
小結 80
第四章 初期佛教象徵圖像－菩提樹
第一節 菩提樹圖像解析 81
第二節 歷史文化發展 89
第三節 經典宗教意涵 94
小結 98
第五章 結論 99
圖版 103
附錄一：「佛塔」象徵圖像彙整分析簡表 129
附錄二：「菩提樹」象徵圖像彙整分析簡表 141
附錄三：2005印度佛教遺址田野記錄彙整報告 163
圖版出處 223
參考書目 229 |
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| ヒット数 | 355 |
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| 作成日 | 2023.05.03 |
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| 更新日期 | 2023.05.03 |
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