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論入定觀音像的形成與發展=On the Formation and Development of Images of Guanyin in the Dhyana Posture |
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| 著者 |
齊慶媛 (著)=Qi, Qing-yuan (au.)
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| 掲載誌 |
敦煌研究=Dunhuang Research
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| 巻号 | n.4 (總號=n.170) |
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| 出版年月日 | 2018 |
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| ページ | 67 - 80 |
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| 出版者 | 敦煌研究編輯部 |
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| 出版サイト |
http://www.dha.ac.cn/
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| 出版地 | 蘭州, 中國 [Lanzhou, 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：北京服裝學院講師 |
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| キーワード | 入定觀音=Guanyin sitting in dhyana; 蒙頭趺坐=sitting in the lotus position in a cloak; 禪定與般若=dhyana and prajna; 補陀洛迦山=Potalaka Mountain |
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| 抄録 | 本文從具有特定造型和內涵的入定觀音像入手,梳理了以蒙頭趺坐為特徵的入定觀音像的形成與發展。入定觀音像造型在北宋晚期禪宗大發展的背景下,來源於打坐禪僧並被賦予禪定與般若意涵,兩宋之際傳布江南地區。南宋、元代造像增加了寶冠、瓔珞等細節刻畫,在江浙、江西、巴蜀等禪宗發達區域廣為流傳。明清時期入定觀音像造型趨向多樣化,雙手施禪定印及披風與外衣分開表現成為新時代特徵。其在發展過程中與水月觀音、紫竹觀音融合,並出現與十六羅漢組合現象,乃為補陀洛迦山觀音信仰影響的結果。
Images of Guanyin(Avalokitesvara) with her head covered sitting in the dhyana posture(i.e. seated in meditation) first appeared in the late Northern Song dynasty when Zen Buddhism entered a period of rapid development. This image was originally derived from monks sitting in meditation and was given the meaning of dhyana(sitting meditation) and prajna(wisdom), the theme gained popularity in the Northern and Southern Song dynasties and soon spread into the region south of the Yangtze River, though by the time of the Southern Song dynasty, the figure of Guanyin began to be attributed various decorations like the coronets and jade necklaces. When the spread of these images reached Jiangxi, Zhejiang, Sichuan, and Chongqing where Zen Buddhism was already well developed, it was taken up by local folk artists and disseminated even further into the popular culture of the time. In the Ming and Qing dynasty, this type of Guanyin image gained in diversity but came to be characterized mainly by the positioning of the two hands in dhyana-mudra and the separation of the cloak and garments. Over the course of its development through history, the theme of Guanyin sitting in meditation gradually combined with those of the Water-and-Moon Guanyin and Purple-Bamboo Guanyin as well as the sixteen arhats, largely as a result of the influence of the Guanyin belief from Potalaka Mountain in southern India. |
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| 目次 | 前言 68
一 入定觀音像的形成 68
(一) 兩件典型實例分析 68
(二) 入定觀音像造型形成過程 70
二 南宋、元代入定觀音像 71
(一) 文獻史料 71
(二) 實物資料 72
1.繪畫類 72
2.雕塑 (附線刻) 類 74
三 明清時期入定觀音像 76
(一) 文獻資料 76
(二) 實物資料 76
1.繪畫類 76
2.線刻類 79
3.雕塑類 79
四 結語 80 |
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| ISSN | 10004106 (P) |
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| ヒット数 | 349 |
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| 作成日 | 2020.10.26 |
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| 更新日期 | 2020.10.26 |
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