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北魏平城時期石牀的系譜： 裝飾的觀點=The Chronology of Stone Beds from the Pingcheng Period of the Northern Wei: From the Perspective of Ornamentation |
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| 著者 |
林聖智 (著)=Lin, Sheng-chih (au.)
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| 掲載誌 |
中央研究院歷史語言研究所集刊=Academia Sinica, Bulletin of the Institute of History and Philology
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| 巻号 | v.94 n.01 |
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| 出版年月日 | 2023.03 |
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| ページ | 59 - 154 |
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| 出版者 | 中央研究院歷史語言研究所 |
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| 出版サイト |
http://www2.ihp.sinica.edu.tw/
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| 出版地 | 臺北市, 臺灣 [Taipei 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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| キーワード | 北魏平城時期; 石牀; 裝飾; 佛教造像; 河北地區 |
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| 抄録 | 本文藉由裝飾的觀點來考察北魏平城時期石牀的編年以及其裝飾母題的來源與 意義。關於編年問題主要以四座紀年墓為基準，將平城時期的石牀裝飾分成三期， 始於太安三年 (457)，大致以太和十八年 (494) 為下限。在這三期中最關鍵的是第 一期的發展，和平元年 (460) 張智朗石牀中可見鸚鵡與葡萄忍冬紋，可知已將牀 身視為天界空間，確立北魏石牀裝飾的基調。石牀裝飾的發展是在石牀這一形制相 對固定的物質載體上，以獸面為中心，持續援引各類佛教裝飾逐步添加、擴充而 成。半忍冬紋成為構成天界的視覺因素，賦予天界秩序感並與天界相接連。十六國 時期的金銅佛開始出現獅子座下增添四足牀座的新形制，流行於河北地區，進而影 響石造像。此地區的金銅佛造像中最早將植物紋運用在牀座上，改變東漢以來牀榻 的裝飾傳統，開啟半忍冬紋與石牀相結合的可能性，可視為北魏石牀裝飾的先聲。 本文最後嘗試由北魏佛教政策、區域性宗教動向、鮮卑祭祀傳統等方面，來分析石 牀創製與北魏佛教的互動關係。佛教裝飾文化不但塑造出平城時期石牀的新樣貌， 同時也擴充北魏葬具的裝飾系統。
This study uses the perspective of ornamentation to examine the chronology of stone beds from the Pingcheng period of the Northern Wei as well as the origins and meanings of their motifs. The ornamentation of stone beds from that era, beginning in 457 and concluding roughly in 494, can largely be divided into three periods, the first of which is most key. From the first year of the Heping era (460) of Emperor Wencheng of Northern Wei (r. 452–465), one can see a combination of parrot, half-palmette, and grape motifs adorning the stone bed of Zhang Zhilang, establishing the key elements of Northern Wei stone bed ornamentation and demonstrating that the beds had been viewed as a heavenly space. With the form of the stone bed itself being a relatively rigid medium, the development of its adornment, centered on animal masks, gradually expanded by continuously incorporating various Buddhist motifs and related themes. As a visual element of the representation of heavenly space, the half-palmette was endowed with a heavenly sense of order and a connection to the heavens. In the Sixteen Kingdoms period, metal statues of the Buddha began to have four pedestals added on. This style, popular in the Hebei region, began to influence stone sculpture, and it was in this region that plant motifs first appeared on pedestals, altering a decorative style that had persisted from the Eastern Han. This opened the way for the appearance of half-palmettes on stone beds, as would happen in the Northern Wei. Through an examination of the restoration of Buddhism by Emperor Wencheng in the year 452, the return of Buddhist cultural influence in the Hebei region, and the sacrificial traditions of the Xianbei, this article attempts to analyze the interaction between the making of stone beds and Buddhism in the Northern Wei. The culture of Buddhist ornamentation not only brought about new designs of stone beds during the Pingcheng period, but simultaneously expanded the greater system of adornment concerning burial objects of the Northern Wei. |
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| 目次 | 一、前言 60
二、平城時期石牀的概觀 62
三、裝飾母題的來源與意義 78
四、石牀裝飾的系譜 86
五、石牀創製與北魏佛教 90
六、結語 93
引用書目 142 |
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| ISSN | 10124195 (P) |
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| ヒット数 | 98 |
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| 作成日 | 2023.07.25 |
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| 更新日期 | 2023.07.25 |
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