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The Mount Wutai Poems and Painting of Dunhuang=敦煌的五台山詩歌和壁畫 |
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| Author |
Cartelli, Mary Anne
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| Source |
International Conference at Princeton University=普林斯頓大學學術國際研討會
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| Date | 2014.09.06 - 08 |
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| Publisher Url |
http://csr.princeton.edu/dunhuangmanuscripts/
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| Location | New Jersey, US [紐澤西州, 美國] |
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| Content type | 會議論文=Proceeding Article |
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| Language | 英文=English |
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| Note | Author Affiliations: Hunter College of the City University of New York |
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| Abstract | Among the Dunhuang manuscripts is a great deal of Buddhist-inspired poetry which merits our
scholarly attention. It contributes not only to a deeper knowledge of the development of Chinese Buddhist literature, but also to our understanding of Dunhuang culture and its interactions with other Buddhist sites in China. The focus of this paper is a unique collection of Chinese poems penned by anonymous poets and pilgrims dating to the Tang and Five Dynasties period about Mount Wutai (五臺山), or Five Terrace Mountain, the abode of the bodhisattva Mañjuśrī (Wenshu shili 文殊師利 or Wenshu 文殊), and the most important Buddhist mountain in China throughout the imperial period. This study forms part of my larger research into a Buddhist poetics of Dunhuang and how Buddhism helped shape the themes of medieval poetry in China. By the Tang dynasty, Mount Wutai was the center of a cult of the bodhisattva Mañjuśrī and a major pilgrimage site. There must have been considerable communication between Dunhuang and the mountain, judging from the Mount Wutai materials found in Dunhuang. Dunhuang cave 61 contains a panoramic wall-painting of Mount Wutai dating from 947 to 951, close to the era in which the Mount Wutai poems were composed. Like the Mount Wutai poems, the wall-painting incorporates both terrestrial and celestial elements. Both portray the major temples, along with many numinous traces (lingji 靈跡), or holy traces (shengji 聖跡), of Mañjuśrī and other extraordinary beings. These traces are described in cartouches in the wall-painting and appear repeatedly in the Mount Wutai poems. Buddhas and other divine beings change into forms both understandable and suitable to the person experiencing the manifestation. Although the goal of these transformations and manifestations is to save the recipient, they
are colorful, entertaining, and far more comprehensible than abstract or esoteric Buddhist doctrines. Both poems and painting are important evidence for the recreation of the Indian Buddhist cosmos in China and the absorption of Buddhist thought into Chinese culture.
在敦煌的手稿遺跡中，有大量的詩歌受到佛教思想啟發。這些詩歌相當值得學術注意,它們不僅有
利於對中國佛教文學的發展有更深入的認識，也幫助我們理解敦煌文化及其與其他佛教遺址在中國的相互
作用。本文的重點在於可追溯至唐朝和五代時期，中國詩歌匿名詩人和香客關於文殊菩薩的居所，以及最
重要的佛教名山在中國整個帝制時代寫下的一個獨特的收藏。從這個研究,我更深入地研究了關於到敦煌的
佛教詩學和佛教如何在中國促進了塑造中世紀詩歌的題材。到了唐代，五台山是文殊菩薩和主要朝聖地的
崇拜的中心。從敦煌發現的五台山材料判斷，敦煌和五台山之間肯定有相當的交流，。敦煌莫高窟第 61 窟
中包含的五台山全景牆畫可以追溯到西元 947 年到 951 年，很接近五台山詩歌寫作的時間。像五台山詩，
牆上的畫既包括陸地和天體的元素。既描繪各大寺廟，還有許多靈跡或聖跡文殊菩薩和其他非凡眾生。這
些靈跡在方形題簽的繪畫描述，並在五台山詩歌中反复出現。佛及其他天人變成既可以理解的又適合的人
經歷的體現的形式。雖然這些轉變和表現的目標是拯救收件人，他們豐富多彩有趣，並且遠比抽象的或深
奧的佛教教義更容易被理解。在詩歌和繪畫中,我們可以看到中國如何重現印度佛教體系以及中國文化對於
佛教文化的吸收。 |
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| Hits | 224 |
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| Created date | 2015.01.13 |
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| Modified date | 2015.08.18 |
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