|
|
|
 |
|
|
|
|
|
|
南詔大理佛教藝術研究=The Study of Buddhist Art of the Nan-chao and the Ta-Li Kingdoms |
|
|
|
| Author |
李玉珉 (著)=Lee, Yu-min (au.)
|
|---|
| Date | 1998.10 |
|---|
| Pages | 7 |
|---|
| Publisher | 行政院國家科學委員會 |
|---|
| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
|---|
| Content type | 其他=Others |
|---|
| Language | 中文=Chinese |
|---|
| Note | 原件提供：行政院國家科學委員會科學技術資料中心NSC87-2411-H136-001 |
|---|
| Keyword | 大理國=Ta-li Kingdom; 雲南=Yunnan; 佛教藝術=Buddhist Art; 南詔國=Nan-chao Kingdom |
|---|
| Abstract | 唐代，烏蠻以雲南大理為中心建立了南詔國(653-902)，與唐朝分庭抗禮。天福二年(937)，白族段思平又在該地建立了大理國(937-1254)，與宋室對峙。南詔和大理國的皇室篤信佛教，大理國二十三主中，禪位為僧者更達九人之多，當時雲南佛教之盛可想而知。然而南詔，大理的信史資料有限，元明以來撰述的地方志書，文獻與神話傳說雜揉，所以南詔，大理佛教文物的研究實有助我們對雲南早期佛教真實面貌的認識。
雲南北接吐蕃，川南，西南與東南亞接壤，西近印度，東與廣西和貴州為鄰。因此，南詔，大理國的佛教來源複雜。其中，中原的影響最為顯著，東南亞和印度的成分也偶有所見，而西藏的色彩最為稀薄。根據風格演變，南詔，大理國的佛教藝術發展可分為早，中，晚三期，早期作品深受唐代影響，中期則與北宋有關，晚期地方特色明顯，是雲南佛教藝術的成熟期。在圖像內容方面，南詔，大理國的佛教包括了顯教，密教，和雲南地方佛教三大類。更值得注意的是，本研究發現，南詔，大理國尚保存了部分別處已失傳的佛教圖像。所以，南詔，大理國的佛教美術不只是中國佛教美術研究的重要課題，也是整個佛教美術史研究上不可忽視的一環。
During the T'ang and Sung dynasties, Yunnan was an independent country. The Meng founded the Nanzhao kingdom (653-902), and the Tuan founded the Dali (937-1254). Both royal families of these two Yunnanese kingdoms were earnest patrons of Buddhism. Buddhism thus flourished in Yunnan from the mid of the seventh to thirteenth centuries. However, only few historical records regarding the Nanzhao and Dali kingdoms have survived to the present day, and the local geographic accounts written in the Yuan and Ming period are not dependable since they are full of myths and legendary stories. In consequence, the archaeological findings, Buddhist caves, relief sculptures, and Buddhist paintings of the Nanzhao and Dali kingdoms became extremely valuable for our understanding of Yunnese Buddhism in the medieval period.
The Yunnan province adjacent to Tibet is located in the southwestern frontier of China; many Buddhist missionaries arrived in Yunnan from India in the west, through Burma in the south, and from the east via Sichuan. Accordingly, Buddhism and Buddhist art of the Nanzhao and Dali kingdoms adopted various elements from China, India and Southeast Asia. However, Tibetan influence on early Yunnese Buddhism and Buddhist art is rarely seen.
Generally speaking, early Yunnanese Buddhist art can be divided into three stylistic periods. The art of the early and middle periods was highly influenced by the art of Central China while the art of the late period was distinguished by its own regional characteristics. The study of this project shows that there are three categories of Buddhism in the Nanzhao and Dali kingdoms, namely, exoteric Buddhism, esoteric Buddhism, and Yunnanese regional Buddhism. It is particularly noteworthy that some Buddhist icons have survived only in Yunnan but not elsewhere in Asia. It is evident that the study of the Nanzhao and Dali Buddhism art is very important not only for our understanding of Chinese Buddhist art also Pan-Asian Buddhist art. |
|---|
| Hits | 827 |
|---|
| Created date | 2000.12.07
|
|---|
| Modified date | 2020.11.20 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
|
|
