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北齊華嚴造像的開展：以華嚴三聖與七處八會為例=The Beginning of Huayan Buddhism Portrayals in the Northern Qi Dynasty: Take the Three Holy Ones of Huayan Buddhism and Seven Locations & Eight Assemblies for Example |
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| 著者 |
陳俊吉 (著)=Chen, Chun Chi (au.)
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| 掲載誌 |
華梵人文學報=Huafan Journal of Humanities
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| 巻号 | n.23 |
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| 出版年月日 | 2015.01 |
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| ページ | 1 - 39 |
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| 出版者 | 華梵大學文學院 |
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| 出版サイト |
http://cola.hfu.edu.tw/epaper/super_pages.php?ID=epaper1
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| 出版地 | 新北市, 臺灣 [New Taipei City, Taiwan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| キーワード | 華嚴經變=the tableaux of Huayan sutra; 盧舍那佛=Vairocana; 文殊菩薩=Manjushri Bodhisattva; 普賢菩薩=Samantabhadra Bodhisattva |
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| 抄録 | 華嚴經變在唐代佛教藝術而言，為重要經變題材之一，此時華嚴經變已經發展成熟，其構成元素中必定有華嚴佛會的組成。在初唐華嚴經變所依據為《六十華嚴》，所描繪的華嚴佛會，便是七處八會；盛唐開始以降所依據為《八十華嚴》，描繪出的華嚴佛會，即七處九會。無論「七處八會」與「七處九會」，皆由佛會說法的畫面所構成，前者為八場佛會，後者則九場佛會，且每一場佛會中都會展現出一佛二菩薩的華嚴三聖為主尊像。華嚴三聖乃構成華嚴佛會的基礎，關於唐代以前華嚴經變的發展樣貌究竟為何？目前學界對此議題相當忽略，而著重於唐代的華嚴經變發展，因此本文將探討北朝時期華嚴造像藝術中，關於華嚴三聖與七處八會的發展脈絡。將透過傳世相關造像實物，輔以相關文獻資料探討說明來釐清此議題。經過本文初步探討後得知，在北朝的華嚴造像主要有「盧舍那佛」、「華嚴三聖」、「七處八會」三種主要的模式，此造像於北齊時大量產生，與當時帝王推廣《華嚴經》的佛王傳統背景文化，以及當時華嚴學派的興盛有著莫大的關係，使得華嚴造像此時大量出現於歷史舞臺，為後代華嚴經變的發展立下基礎。
The tableaux of Huayan sutra is an important theme in the Buddhist art of Tang Dynasty. The Huayan Buddhism assemblies is a necessary part in the tableaux of Huayan sutra which developes well in the Tang Dynasty. In the early Tang Dynast, the tableaux of Huayan sutra with seven locations & eight assemblies is painted in accordance with the sixty-fascicle translation. In the High Tang Dynast, the tableaux of Huayan sutra with seven locations & nine assemblies is painted in accordance with the eighty-fascicle translation. Both ＂seven locations & eight assemblies＂ and ＂seven locations & nine assemblies＂ are constituted by the painting of the statement of Buddha. The former is eight assemblies, and the latter is nine assemblies. The portrayals of a Buddha and two Bodhisattvas of the three holy ones of Huayan Buddhism are shown in the all of Buddhism assemblies. The basic of the Huayan Buddhism assemblies is the three holy ones of Huayan Buddhism. The scholars in the academic world ignore the development of the tableaux of Huayan sutra before Tang Dynasty, and concentrate on the development of the tableaux of Huayan sutra in the Tang Dynasty. So the author will explore the art of the Huayan Buddhism portrayals, and clarify the development context of the three holy ones of Huayan Buddhism and seven locations & eight assemblies. Through exploring, we know in the Northern Dynasty there are three models of Huayan Buddhism portrayals, which are ＂Vairocana＂, ＂the three holy ones of Huayan Buddhism＂, and ＂seven locations & eight assemblies＂. Because of spread the tradition of Buddha king of Huayan sutra by emperors and the prospering of Huayan school, Huayan Buddhism portrayals appear large. |
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| 目次 | 壹、前言 2
貳、北齊華嚴三聖的誕生 5
一、華嚴三聖中文殊乘獅與普賢乘象的造像 6
二、華嚴三聖中文殊與普賢未配置坐騎的造像 10
參、七處八會的造像萌芽 19
一、《興聖寺碑》的八會記錄 20
二、《華嚴八會碑》的佛會展現 22
肆、北齊「華嚴三聖」與「七處八會」造像之成因 26
伍、小結 30 |
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| ISSN | 18124305 (P) |
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| ヒット数 | 127 |
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| 作成日 | 2016.01.14 |
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| 更新日期 | 2019.08.08 |
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