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東京國立博物館保管十一面觀音像（多武峰舊藏）研究（下）=The Eleven-faced Avalokitesvara Statue Originally Collected in Tōnomine and Now Kept in Tokyo National Museum(Ⅱ) |
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| Author |
松田誠一郎 (著)=Matsuda, Seiichiro (au.)
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王云 (譯)=Wang, Yun (tr.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.4 (總號=n.182) |
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| Date | 2020 |
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| Pages | 1 - 17 |
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| Publisher | 敦煌研究編輯部 |
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| Publisher Url |
http://www.dha.ac.cn/
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| Location | 蘭州, 中國 [Lanzhou, 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 | 作者單位：東京藝術大學美術系；中央美術學院人文學院 |
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| Keyword | 檀像=dansō(sandalwood statue); 白旃檀=candana(white sandalwood); 十一面觀音=Eleven-faced Avalokitesvara; 數珠=aksasūtr-amuktā-hāra; 瓔珞; 阿地瞿多=Atikūta; 玄奘=Xuanzang; 神泰=Shentai; 定慧=Dinghui; 《十一面神咒心經》=Avalokitesvaraikādasa-mukha-dhāranī; 《十一面觀世音神咒經》=Avalokitesvara-ekad-asamukha-dhāranī; 《陀羅尼集經》=Dhāranī-sammucaya-sūtra; 印度=India; 唐=Tang dynasty; 長安=Chang’an; 慧日寺=Huiri Temple; 日本=Japan; 多武峰=Tōnomine |
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| Abstract | 圍繞東京國立博物館保管十一面觀音像(多武峰舊藏),從其圖像、形式、風格以及文獻等方面展開討論,認為此像忠實地反映了與"檀像"概念形成密切相關的《十一面經》的造像法,是唐代、略晚於7世紀中期(與《十一面經》第一譯、第二譯出現的年代相當)的中央地區的作品。
This article is an in-depth study of the iconography, form, style, and literary source material of an Eleven-faced Avalokitesvara statue that was originally collected in Tōnomine in Nara but which has since been moved to Tokyo National Museum. The statue shows an almost word-to-word conformity with descriptive passages from the Ekādasamukha-sūtra, a Buddhist sutra which is closely related to the formation of the concept of "dansō" (sandalwood statue) in Buddhist art. The author concludes that the statue was a cooperative work by members of a prominent group of sculptors in the Chinese continent made in the Tang Dynasty sometime after the middle of the 7th century when the original and updated translations of the Ekādasamukha-sūtra were successively created. |
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| Table of contents | 四 風格討論 2
（一）概觀 2
（二）與法隆寺十一面觀音像比較 4
（三）與中國大陸石雕比較 4
（四）關於風格討論的小結 7
五 文獻討論 7
（一）關於十一面觀音造像的最早史料 7
（二）關於定惠 11
（三）關於印度風格的相貌表現 14
六 結論 15 |
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| ISSN | 10004106 (P) |
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| Hits | 403 |
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| Created date | 2020.11.11 |
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