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佛教水陸法會的水陸畫與儀文關係探究=On the Relationship between Paintings and Textual Procedure for Buddhist Liberation Rite of Water and Land |
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| 著者 |
陳俊吉 (著)=Chen, Chun Chi (au.)
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| 掲載誌 |
玄奘佛學研究=Hsuan Chuang Journal of Buddhism Studies
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| 巻号 | n.38 |
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| 出版年月日 | 2022.10.06 |
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| ページ | 71 - 114 |
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| 出版者 | 玄奘大學 |
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| 出版サイト |
http://ird.hcu.edu.tw/front/bin/home.phtml
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| 出版地 | 新竹市, 臺灣 [Hsinchu shih, 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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| ノート | 作者爲華梵大學佛教藝術學系專任助理教授 |
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| キーワード | 南水陸= Southern Liberation Rite of Water and Land; 北水陸=Northern Liberation Rite of Water and Land; 水陸儀文=Liberation Rite of Water and Land Procedure; 水陸文本=Liberation Rite of Water and Land Tex; 內壇=Inner Altar |
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| 抄録 | 水陸法會在當今是漢傳最重大法會儀式，一般而言，此法會通常將連續舉辦七天，在佛教信眾認知上水陸法會是最殊勝、最隆重、最具功德力的法會活動。在水陸法會儀式中最特別的便是在壇場中懸掛奉請十方法界的圖像，也就是常稱的「水陸畫」。歷代所依據的水陸儀軌文本不同，也就產生不同體系的水陸畫作，而今漢傳佛教所舉行的水陸法會，其儀軌是南水陸體系，此體系出自南宋志磐、明末祩宏、清代儀潤與咫觀、民國初年法裕一脈所修訂儀軌。此脈絡的儀軌文本與水陸畫關係發展為何？水陸畫作在水陸儀式的象徵與意義？當今水陸畫與儀軌文本的問題…等，將在本文中探討。…宋遼金時期開始出現各體系水陸儀軌文本，明末才將水陸儀軌分為南北二體系，各體系文本的不同，也就產生不同水陸畫作，但南水陸儀軌文本與水陸畫無法對應的情況從明代一直持續至今，反映出明清時期佛教造像史的衰敗，如何當今建構出與水陸儀軌相應的水陸畫作為重要課題。
Liberation Rite of Water and Land is the most important ritual in modern Chinese Buddhism. In general, this ritual lasts 7 consecutive days. From a Buddhist perspective, this ritual is the most powerful, most grandiose, as well as creates the most merits.
The most characteristic element of this ritual is the paintings hung on the altar for the purpose of inviting all deities from ten directions, which are called paintings for Liberation Rite of Water and Land. Over centuries, with different textual editions, different paintings were created for the rituals. Modern Chinese Liberation Rite of Water and Land ritual follows the southern tradition employing texts written by Zhipan 志磐 of the Song Dynasty, Zhuhong 祩宏 of the Ming Dynasty, Runyi 潤儀 and Zhiguan 咫觀 of the Qing Dynasty, and Fayu法裕 of the Republic Era. This paper will discuss the following questions: What is the relationship between the development of the paintings and their textual context? What are the symbolic meanings of the paintings in the ritual? What are the issues between modern paintings for this ritual and the texts?
Several different systems of the texts for the said ritual emerged during the Song, Liao, and Jin Dynasties. But it wasn’t until the late Ming Dynasty that the monastics started to divide the ritual into the northern and southern
schools. Different texts in different schools derive different paintings for the ritual. However, since the Ming Dynasty, the paintings exclusively for the ritual did no t really correspond to the texts. This reflects the decline of Buddhist iconography in the Ming and Qing Dynasties. Therefore, how to construct modern paintings that correspond to the texts is an important issue |
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| 目次 | 一、前言 74
二、當今水陸法會儀式 78
三、關於水陸法會緣起 81
四、宋遼金時代的水陸儀軌流變 85
（一）北宋蘇軾「眉山水陸」與楊鍔《水陸儀》 86
（二）宗賾的《水陸儀文》 87
（三）北宋「金山水陸」傳統的延續 87
（四）南宋祖覺的《重廣水陸法施無遮大齋儀》 87
（五）南宋史浩「月波水陸」 88
（六）南宋志磐的《法界聖凡水陸勝會修齋儀軌》 88
（七）金代仔虁的《天地冥陽水陸齋儀》 89
五、明清時代的水陸儀軌流變 89
（一）明代時期的《天地冥陽水陸儀文》 90
（二）明末祩宏的《法界聖凡水陸勝會修齋儀軌》 90
（三）清末儀潤的《法界聖凡水陸普度大齋勝會儀軌會本》 90
（四）清末咫觀居士的水陸文本 91
（五）民初釋法裕的《水陸儀軌會本》 91
（六）其他的水陸儀文《天地冥陽科》 92
六、南水陸與北水陸的分流 92
七、歷代水陸畫的流變 94
八、歷代水陸畫的風格流變 101
九、創作契合儀軌的水陸畫 104
十、小結 109
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| ISSN | 18133649 (P) |
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| ヒット数 | 162 |
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| 作成日 | 2023.03.13 |
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| 更新日期 | 2023.03.13 |
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