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| Author |
徐瑜 (著)
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| Source |
全國佛學論文聯合發表會論文集（第32屆）
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| Date | 2021.09 |
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| Pages | 1 - 39 |
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| Publisher | 香光尼眾佛學院 |
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| Publisher Url |
https://hkbi.gaya.org.tw/
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| Location | 嘉義縣, 臺灣 [Chia-i hsien, Taiwan] |
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| Content type | 會議論文=Proceeding Article |
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| Language | 中文=Chinese |
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| Note | 作者為南華大學宗教學研究所。 |
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| Keyword | 善財童子五十三參=Sudhanakumāra’s pilgrimage; 明清版畫=Engraving illustrations of Ming and Qing Dynasties; 嬰戲圖=Ancient Chinese paintings of children playing; 高士圖=playing, paintings of lofty scholars; 經變畫=Buddhist sutra illustrations |
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| Abstract | 《華嚴經》〈入法界品〉中的善財童子五十三參為其核心思想,因善財童子的典範形象,自唐代以來的華嚴經變中開始出現童子五十三參的內容,發展到宋代開始獨立完整的五十三參圖像內容。過去學者的研究多側重於壁畫內容或構圖分析,少有人從壁畫依據的粉本研究。本論文以宋代《善財童子五十三參圖贊》中孤雲居士所繪插圖為研究對象,參考過去歷史中國各類繪畫風格以及佛教藝術相關理論,對插圖進行歸類;並以經典內容為依據,針對書中插圖所顯現的明清版畫、嬰戲圖、高士圖、經變畫及全景圖、中國建築界畫等五種風格,以及融入的其他構圖方式,以互文參照的方式進行詮釋研究。此外,本文採用潘諾夫斯基圖像學的詮釋理論,從作品風格及其時代背景、文化特性結合經典內容來詮釋其內在意涵。從中發現繪者借用傳統圖式,在其基礎上變化,將之與時代盛行的藝術風潮結合,重新以圖像營造經典內容的神聖以及《華嚴經》一多相容、重重無盡之圓融無礙的境界。
Sudhanakumāra’s visits to fifty-three great teachers is the core part in the Chapter on Entry into the realm of reality of the Avatamsaka Sūtra. With Sudhanakumāra becoming a representative example for later spiritual seekers, people gradually from Tang Dynasty began to illustrate the sutra in different ways to propagate the importance of spiritual pilgrimage. During the Song Dynasty, independent and complete illustrations on Sudhanakumāra’s visits to the fifty-three great teachers were developed, stimulating scholars’ interest in their iconographical analysis.However, previous studies emphasized more on decoding the content or the composition in the mural painting. Few studies were done based on the original draft, which is a very important reference for completing a mural painting. This paper focuses its study on the illustrations made by Ming-Qing lay Buddhist GuYun in the book Illustration and Verse on Sudhanakumāra’s Visits toFifty-three Great Teachers. Various characteristics of Chinese painting, engraving arts as well as Buddhist art style are considered in the five categories of the mages, which are the engraving illustrations from Ming and Qing Dynasties, children playing in ancient Chinese paintings, paintings of lofty scholars, sutra and panorama illustrations as well as Chinese boundary painting. Other compositional techniques are integrated into the styles mentioned above. The interpretative study of the illustrations is based on the understanding of sutra and compositional analysis used in the book. In addition, Erwin Panofsky’s iconological method of analysis is used to nterpret the meaning of the artwork from the point of view of art style, social and cultural background in consideration of the content in the sutra. It is found that the illustrator remodeled the sacredness of Buddhist teachings .The inconceivable state of non-obstruction in the the Avatamsaka Sūtra is presented by drawings combining the traditional art schema with the trend of that era. |
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| Table of contents | 一、前言 3
二、《善財童子五十三參圖讚》的版本及源流探討 5
三、以明清版畫的斜切式為構圖的特色 6
四.圖象展現經典內容的神聖性 13
(一)以經變畫、全景圖呈現場景的深遠 14
(1)經變畫 14
(2)全景畫 16
a.樹木為背景 16
b.建築為背景 17
c.樹木、建築皆為背景 18
(二)以中式宮廷呈現宏偉建築風格 20
(三)人物圖象所象徵的佛教修行意涵 22
1.嬰戲圖 23
2.高士圖 25
五、結論 27 |
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| Hits | 457 |
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| Created date | 2022.10.07 |
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| Modified date | 2023.09.22 |
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