中國佛教造像中的供養人像 ── 佛教美術史研究的新觀點=Donor Figure lmages in Chinese Buddhist Sculptures: A New Viewpoint for Research on Buddhist Art History

石松日奈子; 牛源

Author

石松日奈子 ; 牛源

Source

中原文物=Relics from Central Plain

Volume

n.5 (總號=n.149)

Date

2009.10

Pages

74 - 85, 112

Publisher

《中原文物》編輯部

Location

鄭州, 中國 [Zhengzhou, China]

Content type

期刊論文=Journal Article

Language

中文=Chinese

Note

作者單位：清泉女子大學。

Keyword

供養人=donor; 佛教造像=Buddhist sculptures; 胡服=costume of Yiyi; 漢服=costume of Han nationality

Abstract

佛教造像中所表現的供養人像不僅是制作和禮拜佛像的佛教信徒的形象,同時,作為皇帝的臣民、國家和社會的一員,也是他們想確立自我存在的一個形象。本文闡述了佛教造像這一宗教活動是被利用為向統治者和社會表達意志的一個"場所",供養人像的一個主要功能即是其表現手段。現存佛像當中并非都是中央地區精美的作品,也存在很多地方和民間制作的拙劣作品。這些作品雖然從美術史的角度評價較低,但實際上,作為向國家和社會傳遞意愿的一個紀念碑,具有很重要的意義。我們在佛教美術研究當中不能只從美術史的角度去研究,也有必要從社會史的角度去研究。

Images of donors holding offerings of flowers or incense burners are depicted on the pedestals and on the verso surfaces of Chinese Buddhist sculptures.These figures are worshippers wearing the layman garments typical of the period of the sculpture s creation.They are shown in offering or worship scenes,either offering flowers or water to a Buddhist image,or burning incense and praying.These donor images are not essential elements of Buddhist sculpture,as are Buddhas or Bodhisattvas. The author investigates examples of Buddhist donor images in Chinese Northern Wei dynasty sculptures, and posits that the donor figures depicted in Buddhist sculpture w ere thus faithful Buddhists worshipping the Buddha who reflected theirself awareness in the temporal world as both vassals of the emperor and individual members of the nation and society They used the religious activity of Buddhist sculpture commissions as the “place” for their expression of their thoughts towards their rulers and society, and the depiction of donor figures functioned as the expressivement if of such self- awareness.

Table of contents

一、前言 74
二、北魏時期的胡服供養人像 75
三、集體造像的供養人群像 78
四、「板官」授予與小豪族的造像供養 82
五、供養人像的意義和功能--佛教美術史研究的新觀點 84

ISSN

10031731 (P); 10031731 (E)

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