|
|
|
 |
|
|
|
|
|
|
清代藏傳佛教高僧大德入貢法器考──以國立故宮博物院藏品為例=Buddhist Implements from the Qing Dynasty Presented as Tribute by Eminent Tibetan Figures: Examples from the Collection of the National Palace Museum |
|
|
|
| Author |
賴依縵 (著)=Lai, I-mann (au.)
|
|---|
| Source |
故宮學術季刊=The National Palace Museum Research Quarterly
|
|---|
| Volume | v.34 n.3 春季號 |
|---|
| Date | 2017.03 |
|---|
| Pages | 45 - 122 |
|---|
| Publisher | 國立故宮博物院 |
|---|
| Publisher Url |
https://www.npm.gov.tw/
|
|---|
| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
|---|
| Content type | 期刊論文=Journal Article |
|---|
| Language | 中文=Chinese |
|---|
| Note | 作者單位: 國立故宮博物院教育展資處 |
|---|
| Keyword | 清代=Qing dynasty; 朝覲制度=Tributary system; 藏傳佛教藝術=Tibetan Buddhist art; 法器=Religious implements; 金屬工藝=Metalware |
|---|
| Abstract | 滿清帝國以「興黃教，即所以安眾蒙古」方針，攏絡藏傳佛教高僧，羈縻蒙古部族，有清一代，優禮西藏等地區以達賴、班禪喇嘛為首的黃教格魯派僧侶，歷年輪班進貢，在清宮留下不少方物，是藏傳佛教助清廷將蒙古、青海、西藏等地納入帝國的見證。此批貢物，不少仍保留清宮紀錄，進獻者相對明確，其中，又以法器類文物承載較多歷史訊息，本文即為三十三組件藏於國立故宮博物院出處明確法器的全面性考察。這些法器，除了一件廓爾喀繳回文物，皆為黃教高僧大德年班朝覲、賀壽、圓寂等場合致意之禮，並涉及乾隆十三（1748）青海塔爾寺賜御匾、乾隆四十五年（1780）班禪入京、乾隆五十八年（1793）廓爾喀戰爭以及咸豐二年（1852）道光皇帝葬於穆陵入廟等事。除了一套舍利藏於熱河，其餘皆珍藏於紫禁城。根據清宮四體字籤、工藝技術與藝術風格等資訊，製作年代最早可上溯至明朝初年，最晚為晚清。而其製作地點，衛藏、康區、四川西部等地進獻法器，除了明廷賞賜舊物，皆應來自該文化區；反觀青海出身之駐京喇嘛進獻法器，則應多為京城等漢地製作。不同地域大喇嘛貢物之工藝風格與美學傳統，互有差異。其中具有重要歷史意義或工藝精湛法器，乾隆朝宮廷造辦處則傾力仿作，並融合傳統與最新技術，重新演繹，展現大清帝國國富民強，工藝精益求精，為泱泱上國的雄心。
The Manchu Qing dynasty court pursued a policy of “promoting the Gelug Sectto appease the Mongols” and won over eminent figures in this school of Tibetan Buddhism as a way to manage the various Mongol tribes. In the Qing dynasty, the Dalai Lama and Panchen Lama as heads of the Gelug Sect in favored parts of Tibet would send clerics in alternating years to present tribute for the court. Over the years, a considerable number of tribute items accumulated at the Qing court, serving as testimony to the inclusion of Mongolian, Qinghai, and Tibetan areas into the empire by means of Tibetan Buddhism. Many of these items are also mentioned in Qing court records, the names of the presenters specifically mentioned. Among them, Buddhist implements convey significant historical information. As a result, the present study examines thirty-three Buddhist implements in the collection of the National Palace Museum with such clear records for an overall evaluation of the information they provide. These Buddhist implements, with the exception of a Gurkha artifact that was returned, were all presented as gifts by eminent figures in the Gelug Sect and the Tibetan government on the occasion of paying tribute, birthdays, and deaths. They also relate to an imperial plaque presented to the Kumbum Monastery in Qinghai in 1748, the arrival of the Panchen Lama in the capital in 1780, the war with the Gurkhas in 1793, and the burial of the Daoguang emperor in 1852 at the imperial
mausoleum. Except for a reliquary kept at Jehol, all were treasures stored in the Forbidden City. Judging from the information provided by label notes in four languages of the Qing court, craftsmanship and artistic styles, the date of production for these works can be traced back to the early Ming dynasty at the earliest and up to the late Qing dynasty at the latest. The places of production for these Buddhist implements include tribute items from the Tibetan areas of Ü Tsang, Kham, and western Sichuan. With the exception of old Ming dynasty presents, all are products of their respective regions. However, the Buddhist implements presented by lamas from Qinghai stationed in the capital include many of Chinese origin, such as those made in the capital. The art styles and aesthetic traditions of objects presented by eminent lamas from different regions reflect their respective variations. These Buddhist implements are exquisite works or have important historical significance, which the imperial workshops at the Qianlong court strived to imitate. Integrating them with the Chinese tradition and latest techniques for completely new interpretations, they demonstrate the wealth and power of the Qing Empire and its imperial ambitions in the form of art.
|
|---|
| Table of contents | 一、前言 46
二、金屬工藝相關法器之一：曼達盤、金剛鈴、杵與噶巴拉手鼓 49
（一）曼達盤 49
（二）金剛鈴、金剛杵 54
（三）噶布拉手鼓 60
（四）清宮四體字白籤相關問題 65
1. 噶爾馬時成造：karma gan ཀརྨ་གན་ 65
2. 永寧寺：ཡུང་ ནིང་ ས 66
三、金屬工藝相關法器之二：法輪與容器類法器 67
（一）法輪 67
（二）噶巴拉碗 69
（三）蓋罐 71
（四）金碗、舍利與盒 74
四、其他材質類法器 76
（一）數珠 76
（二）其他 78
五、結論 80
（一）清末收貯地點 80
（二）對於清宮法器製作的影響 81
引用書目 87
|
|---|
| ISSN | 10119094 (P) |
|---|
| Hits | 210 |
|---|
| Created date | 2022.04.07 |
|---|
| Modified date | 2023.12.21 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
|
|
