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三十三觀音之繪畫作品分析－以敦煌石窟隋唐壁畫為例=Analysis of Avalokiteśvara Art: Murals of Sui and Tang Dynasties at Dunhuang Grottes as Examples |
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| Author |
蔡佩廷 =Tasi, Pei-Ting
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| Date | 2021 |
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| Pages | 324 |
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| Publisher | 大葉大學 |
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| Publisher Url |
https://www.dyu.edu.tw/
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| Location | 彰化縣, 臺灣 [Changhua hsien, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 中文=Chinese |
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| Degree | master |
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| Institution | 大葉大學 |
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| Department | 設計暨藝術學院碩士班 |
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| Advisor | 曾賢熙 |
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| Publication year | 109 |
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| Keyword | 三十三觀音=Thirty-Three Sacred Figures of Guanyin; 文化脈絡=Cultural Context; 觀音造像=Guanyin Sacred Statue |
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| Abstract | 敦煌藝術保留了中西交流史中珍貴的宗教藝術，祂們的美的理想和審美形式，除了表現佛教教義、描繪塑造各種佛經內容外，更重要的是它善用有形的符號和造型傳遞原型意象表現歷史本身，其形象流傳自唐朝以後敦煌所見的佛像大多以女像呈現，並有逐漸凌駕於其他男性神佛形象的趨勢，其精神上的轉化隨著時代階級的變異，以明確的形式、富於表現力的型態，形成各種不同的審美標準與美的理想，並足以形成一種獨特的中國藝術美學，表現為對宇宙與生命的感性體悟。
原本不適宜表達純抽像思想概念的造型藝術，似乎只得借用同樣抽象性的「符號」形象的佛教藝術表達其佛教教義。此一議題本身更橫跨藝術形式與諸多美學話題，故本論文試圖剖析隋唐敦煌石窟壁畫與藝術家之觀音造型三十三觀音藝術風格與對後世的影響，對其在佛教中的源流與轉化問題、哲學上的析理，何以能延續至今之因？透過美學思維之分析與菩薩造型藝術之比對，探究其所蘊藏的形神美觀與其本身所具有的美學涵義的議題研究，以比對的方式論述隋、唐時期的美學風格，明瞭作為一個龐大的佛教精神體系，其複雜及深刻之處。各章研究主題如下：
第一章 緒論，為闡明研究動機目的、研究方法及範圍界定等概述。研究方法為文獻資料及圖像分析並重分析，依據在中國不同的佛典文獻系統與文獻學的角度，輔以相關畫史、藝術家之風格進行整合性的圖像學研究，加以探討作品風格之現象評述。
第二章 中國宗教文化之探究，由將各部經典繪製壁畫中的故事可看出，佛教思想受到中國的傳統文化和社會環境影響，探討其在中國社會結構的世代流變、身世背景等脈絡，本章主要以「中國社會之探討」、「觀音身世探討」作為分節重點，屬於文獻探討之部分。
第三章 中國觀音造像藝術與形式探討，將以「中國藝術哲學」與「觀音造像表現」探討觀音思想體系對中國社會環境的影響、哲學與美學上的關係，同時也呈顯出觀音造像的藝術深意。
第四章 則以「觀音之藝術風格探討」為主題，以佛教造像與觀音造像藝術為論述重點，詮釋觀音法相的演變與探討相關藝術家創作觀音風格呈現與分析。
第五章 則是結論與建議。期望從本論文的問題意識開始對觀音造像之思想內涵在藝術、審美、宗教及哲學中進行研究，也是往後持續深入研究的指引方向。
Dunhuang Art has preserved a precious part of the religious art exchange between the east and the west, as the ideals and the aesthetics did not merely manifest the religious doctrines, as well as depict all types of the content of the Buddhist Scriptures; however, more importantly, it utilized tangible motifs and forms to relay the original imagery to articulate history itself while most of the Buddhist holy statues seen in Dunhuang since Tang Dynasty have been manifested in the female forms which have grown to gradually overwhelm the imagery of other male-form Buddhist sacred figures. Such spiritual transcendence has given rise to various aesthetic standards and beauty ideals as time evolves through clear forms and expressive styles, culminating in a unique Chinese aesthetic that encompasses a sensible reflection of the universe and life itself.
The stylistic art initially unsuitable for expressing purely abstract idealogy seemed only to leverage the same abstract “motif” imagery of Buddhist art to manifest the Buddhist doctrine. As this agenda spans over artistic styles and numerous aesthetics issues, this thesis attempts at analyzing the Dunhuang Cave murals of the Sui and Tang Dynasties, articulating the then artists’ stylistic impressions of thirty-three sacred figures of Guanyin and their lasting influences on the future generations, and seeks to study the reason how these timeless artistic expressions may perennially represent the concept of origin and transcendence in the Buddhism and the philosophical analysis? Through the analysis of aesthetics discourse and the contrasts amongst the different streams of the art in the representational forms of Avalokitesvara, this research seeks to study the imbued sacred imagery aesthetics and the agenda research on the aesthetics meanings they encompass, with a contrasting articulation of the aesthetics styles of the Sui and Tang Dynasties with the premise of understanding such an enormous Buddhist spiritual framework, in terms of its complexity and depth. The research theme of each chapter is outlined as follows:
Chapter One, Introduction, is to outline research motivations, research methods, and scope definitions. The research method is an analysis of equal weighting of literature information and image analysis, based on the perspectives of various Buddhist Scripture systems and philology, complemented by the relevant history of the murals, and the artists’ styles, in carrying out an integral iconological study while exploring the phenomenal commentary of the artwork styles.
Chapter Two, The Research of the Chinese religious culture, as seen from the tales of Paint the Buddhist classics in the frescoes, Buddhist idealogy has long been influenced by traditional Chinese culture and social environment, and to study the contexts of the generational changes of Buddhism in the Chinese social structure and the ideological background; hence, this chapter consists of “The Study of the Chinese Society” and “The Study of the personal background of Guanyin” which |
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| Table of contents | 封面內頁
簽名頁
中文摘要 iii
英文摘要 v
誌謝…. viii
目錄…. ix
圖目錄 xi
表目錄 xxiv
第一章 緒論 1
第一節 研究動機 1
第二節 研究目的 2
第三節 研究範圍 3
第四節 研究方法 4
第二章 中國宗教文化之探究 7
第一節 中國社會文化之探討 7
第二節 佛道儒的衝突 12
第三章 中國觀音信仰的藝術與造像形式探討 27
第一節 觀音身世探討 27
第二節 中國觀音信仰思想探討 35
第三節 中國觀音藝術造像之探討 47
第四節 中國佛教藝術探討 57
第五節 敦煌石窟的時代意義 68
第四章 觀音之藝術風格探討 98
第一節 佛經中的「三聖身」 99
第二節 「天身」與印度教神祇的關係 126
第三節 被認為具有「德行」形象的七種人身說法 171
第四節 現長者婦人、居士婦人身等諸婦女身的出現 205
第五節 天龍八部與執金剛神身 241
第五章 結論 307
參考文獻 313 |
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| Hits | 476 |
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| Created date | 2022.09.22 |
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| Modified date | 2022.12.23 |
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