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五代前後降魔圖像的新發展——以巴黎集美美術館所藏敦煌出土絹畫降魔圖為例 |
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| Author |
李靜傑
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| Source |
故宮博物院院刊=Palace Museum Journal
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| Volume | n.6 |
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| Date | 2002 |
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| Publisher | 紫禁城出版社 |
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| Publisher Url |
http://www.culturefc.cn/index/product.jhtml?act=index
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| Location | 北京, 中國 [Beijing, China] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 出處:中國期刊網-文史哲輯專欄目錄 |
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| Keyword | 降魔; 釋迦佛; 明王; 魔眾; 釋迦佛神通變化; 轉輪聖王七寶 |
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| Abstract | 本文以集美美術館所藏絹本著色降魔圖為,論述了五代時期降魔圖像新發展的有關情況。作品中的降魔釋迦佛表現出若干新時代造型特征,密教明王的出現增強了佛的威懾力。魔眾種類繁多,復雜多變,藝術表現趨于極限。釋迦佛神通變化以及轉輪圣王七寶被吸收進來,強化了釋迦超人的性格。圖像中還可以見到來自印度帕拉朝美術的因素。此圖像的內容和表現遠遠超出了北朝時期同類作品,代表了后期降魔圖像發展的最高水準。推測此圖像出現與當時流行俗講的社會背景有關。
The author examines Mara - tarjana images depicting Sakyamuni’ s subjugation of Mara bassd on an examination of paintings on silk in the collection of the Musee Guimet in Paris and discusses the new developments in the handling of these images in the Five Dynasties period and the increased strength of Tantric Buddhism in that period as exemplified by the emergence of Mingwang images. There was also a proliferation and transformation of Mara or demon images and the artistic aspects of Mum - tarjana works were fully explored. The works treated supernatural powers ascribed to Sakyamuni Buddha’ s and drew on his attributes, namely the Seven Treasures, as a Cakravartin King, thereby endowing Sakyamuni with supra - human qualities. Including elements of Indian Pala art, these works far surpassed Northern Dynasties’ works treating the same themes find represent the pinnacle of achievement in treating this genre, drawing on a social background of contemporary folk customs. |
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| Table of contents | 一、釋迦佛與明王 46
二、魔眾的種類和表現 50
三、釋迦佛的神通變化 57
四、轉輪聖王七寶 58
小節 59 |
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| ISSN | 04527402 (P); 04527402 (E) |
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| Categories | 佛教圖像; 繪畫 |
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| Dynasty | 五代十國-五代 |
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| Regions | 甘肅(敦煌) |
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| Hits | 594 |
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| Created date | 2005.04.15 |
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| Modified date | 2019.09.17 |
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