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八世紀觀音造像的繁衍=The Plethora of Guanyin Images in the Seventh and Eighth Centuries |
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| 著者 |
王靜芬
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| 掲載誌 |
藝術史中的漢晉與唐宋史之變
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| 出版年月日 | 2014.04 |
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| ページ | 193 - 224 |
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| 出版者 | 石頭出版社 |
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| 出版サイト |
https://zh-tw.facebook.com/RockPub
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| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| 資料の種類 | 專題研究論文=Research Paper |
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| 言語 | 中文=Chinese |
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| ノート | 作者單位：美國維吉尼亞大學美術史系 |
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| 抄録 | 本文探討觀音（大悲菩薩，Avalokite vara）信仰在七至八世紀之間的衍變與發展，及其在視覺表現中多種樣貌之呈現。1 觀音常常理解為「俯看世間的菩薩」，祂是隨著大乘佛教於印度自西元一世紀初的發展而滋生的眾多菩薩之一。由於觀音是「慈悲」（karu ）這個概念的人格化，所以對信徒有著強大的吸引力。自五世紀下半葉起，與日俱增的觀音造像可以作為觀音信仰在中國持續地成長的佐證，造像出現於各種背景下和以多樣媒材呈現，例如金銅、石、壁畫等，小型以至等身的造像皆有。典型的中國觀音圖象特徵建立於六世紀末。這類傳統式的觀音造像持續到七、八世紀。此外，伴隨著密教在中土的傳入和流行，多樣式的密教觀音信仰得到演進。首先，本文以為七世紀末至八世紀多樣式的密教觀音 ──或稱變化觀音 ──的
激增指證當時中國佛教及其藝術的重大改變；其次，這個變化也對鄰邦文化有著深刻的影響，特別是日本奈良時代（710-794）的佛教藝術。本文另檢視兩個個案，分別為敦煌莫高窟第一四八窟和日本東大寺。
This paper is an attempt to chart the development of the cult of Avalokite vara (Bodhisattva of Compassion, Ch. Guanyin 觀音) in the seventh and eighth centuries in China through a study of the multifarious representations of this bodhisattva. Avalokite vara,
sometimes understood to mean “he who looks down on the world,” is one of many celestial bodhisattvas who developed in tandem with the Mah y na movement that began in India around the beginning of the Common Era. As the personification of karu or compassion, Avalokite vara held powerful appeal to worshipers. Since the latter part of the fifth century,devotion to Avalokite vara had been steadily growing in China, attested to by the increasing representations of the bodhisattva in various contexts and media. Standard iconographic features for Chinese Guanyin imagery were established by the end of the sixth century.Traditional representations of Guanyin continued to be made in the seventh and eighth centuries. In addition, we see the development of several esoteric forms of Avalokite vara, concomitant with the introduction and spread of esoteric Buddhism into China. This paper argues that the proliferation of esoteric forms of this bodhisattva, also called transformed Avalokite vara (bianhua Guanyin 變化觀音) in the late seventh and eighth centuries represented fundamental changes in Chinese Buddhism and Buddhist art, and that this change also had profound impact on neighboring cultures, especially the Buddhist art of the Nara 奈良 (710-794) court of Japan. Two case studies examined in this paper are Dunhuang Cave 148 and T daiji of Japan. |
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| 目次 | 一、觀音的傳統形式 193
二、變化觀音 199
三、十一面觀音 201
四、變化觀音個案研究 206
（一）敦煌莫高窟第一四八窟 206
（二）日本東大寺 213 |
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| ISBN | 9789866660290 (平) |
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| ヒット数 | 476 |
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| 作成日 | 2015.05.27 |
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| 更新日期 | 2015.05.27 |
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