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隋代京畿地區仁壽舍利石函的圖像與風格 : 以神德寺舍利石函為中心 |
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| 著者 |
楊效俊
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| 掲載誌 |
考古與文物=Archaeology and Cultural Relics
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| 巻号 | n.5 |
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| 出版年月日 | 2015.10 |
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| ページ | 80 - 87 |
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| 出版者 | 陜西省考古研究所 |
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| 出版地 | 西安, 中國 [Xi'an, China] |
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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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| ノート | 作者單位：陝西歷史博物館 |
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| キーワード | 仁壽舍利石函=Renshou Sarira Stone container; 四面八樹=Simianbashu ( Four facets and eight trees); 涅槃四德=Four virtues of Nirvana |
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| 抄録 | 隋代仁壽年間，在京畿地區精通涅槃經典的僧侶和活躍在隋文帝身邊的高僧的主導下，形成了仁壽舍利的瘞埋制度。本文結合考古與文獻資料，對以神德寺舍利石函為代表的京畿地區舍利石函的圖像和風格進行探討。作者認為圖像以石函四面八樹為特徵，寓意釋迦牟尼涅槃的過程和涅槃四德「常、樂、我、淨」；並以中國傳統的方位意識與佛教天界圖像的結合來表現佛教的世界圖像。石函精緻繁複的風格融合了隋代陵墓石質葬具和佛教紀念碑藝術的裝飾風格。
During the Ｒenshou era of the Sui Dynasty, the monks who were familiar with Buddhist classic and actively surrounding Emperor Wen in the capital area helped to shape and formalize the burying system of Renshou Sarira. This article tries to synthesize archaeological data and textual evidence and investigates the iconography and artistic style of stone Sarira containers popular in the capital area, which are represented by the one from Shende Temple. The author argues that thesimianbashu character of iconography should represent the nirvana process of Buddha and his four nirvana virtue, or known as "chang, le , wo, and jing". In addition, this container combines Chinese traditional concepts about orientation and the iconography of Buddhist deities to represent the worldview of Buddhism. The delicate artistic style also demonstrates a fusion of the decorative style from stone funeral furniture and Buddhist memorial steles. |
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| 目次 | 一、宗教背景 81
二、京畿地區仁壽舍利石-函裝飾的形成過程 82
三、神德寺舍利石函的結構與圖像程式 84
四、風格 86
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| ISSN | 10007830 (P) |
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| 研究種類 | 文獻資料; 考古 |
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| 研究年代 | 隋代; 唐代 |
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| ヒット数 | 206 |
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| 作成日 | 2017.03.22 |
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| 更新日期 | 2019.10.21 |
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