|
|
|
 |
|
|
|
|
|
|
試論唐代降魔成道式裝飾佛=A Preliminary Discussion of the Ornamented Buddha of the T'ang Dynasty Representing the Defeat of Māra |
|
|
|
| Author |
李玉珉 (著)=Lee, Yu-min (au.)
|
|---|
| Source |
故宮學術季刊=The National Palace Museum Research Quarterly
|
|---|
| Volume | v.23 n.3 春季號 |
|---|
| Date | 2006.03 |
|---|
| Pages | 39 - 90+157 |
|---|
| 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 | 國立故宮博物院書畫處 |
|---|
| Keyword | 唐代=T'ang dynasty; 裝飾佛=Ornamented buddha; 菩提瑞像=Bodhi Tree enlightenment image; 釋迦牟尼=Sākyamuni; 彌勒=Maitreya; 毗盧遮那佛=Vairocana Buddha |
|---|
| Abstract | 唐代的佛教藝術中，發現一種圖像特殊的降魔成道式裝飾佛，許多學者稱之為密教的大日如來（又稱毗盧遮那佛），筆者以為其當代表菩提瑞像。據說，摩揭陀國摩訶菩提寺的菩提瑞像，是彌勒菩薩依釋迦真容所作，為天竺著名的聖像。初唐時，西行的使臣與求法高僧曾將此像的稿本帶回中國，這個圖像很快地便在各地流傳開來，如今在中原、四川和敦煌都有菩提瑞像的發現。由於敦煌的菩提瑞像與中原和四川的圖像表現不盡相同，顯示唐代流傳菩提瑞像的稿本不只一種。另外，原來印度單尊式的菩提瑞像，到了中國，不但出現了多尊的組合，同時四川藝匠又創造出菩提瑞像與彌勒佛合龕的形式。同時，隨著華嚴信仰的發展，原代表化身佛釋迦牟尼的菩提瑞像，後來也被視作法身佛毗盧遮那。只不過，此時的毗盧遮那佛指的應是華嚴教主，並非密教教主。
In the Buddhist art of the Tang's dynasty is found a uniquely ornamented image of the Buddha representing the Buddha's achieving enlightenment upon the conquest of Māra. While many scholars refer to this figure as Vairocana in esoteric Buddhism, the author believes that it should be taken as a representation of the famous image of Sākyamuni's enlightment under the Bodhi tree in the Māhabodhi Monastery in the kingdom of Magadhā. According to legend, the Bodhi image was crafted in the likeness of Sākyamuni by Maitreya. In China during the early T'ang, monks and envoys brought from India illustrarions of this image, which were then quickly reproduced and disseminated throughout the land. Examples can be seen today in the Central Plains region, Szechwan, and Tunhuang. The differences between Bodhi images of the Central Plains and Szechwan and those of Tunhuang demonstrate that more than one illustration was transmitted from India. Furthermore, the original single-figure Bodhi image from India, upon its arrival in China, was not only expanded into group images, but also combined with images of Maitreya in the rock-carved niches of Szechwan. At the same time, with the development of the Hua-yen faith, the Bodhi image, which originally represented the Nirmaṇakāya (transformation-body) Sākyamuni, came to be seen as the Dharmakāya (true-body) Vairocana. However, at this time, the Vairocana Buddha in question was that of the Hua-yen, not esoteric, teachings. |
|---|
| Table of contents | 一、引言 40
二、唐代降魔成道式裝飾佛遺存與分佈 42
(一) 兩京地區 42
(二) 敦煌 45
(三) 四川地區 48
三、菩提瑞像的製作與流傳 52
四、菩提瑞像與彌勒佛 60
五、菩提瑞像與毗盧遮那佛 61
六、結論 64 |
|---|
| ISSN | 10119094 (P) |
|---|
| Hits | 1007 |
|---|
| Created date | 2008.02.13 |
|---|
| Modified date | 2023.12.28 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
|
|
