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須彌山北魏洞窟的空間佈局及其宗教功能:以第22、24窟為例的考察=The Spatial Arrangement and Religious Functions of the Xumishan Grottos of the Northern Wei Dynasty [386-534]: The Case of Caves 22 and 24 |
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著者 |
王豔 (著)=Wang, Yan (au.)
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魏文斌 (著)=Wei, Wen-bin (au.)
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掲載誌 |
華林國際佛學學刊=Hualin International Journal of Buddhist Studies
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巻号 | v.1 n.2 《佛教藝術》專刊 |
出版年月日 | 2018.10 |
ページ | 199 - 240 |
出版者 | World Scholastic Publishers |
出版サイト |
http://www.worldscholastic.com/
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出版地 | Singapore [新加坡] |
資料の種類 | 期刊論文=Journal Article |
言語 | 中文=Chinese |
キーワード | 須彌山=Sumeru; 北魏=Northern Wei; 空間佈局=spatial arrangement; 宗教功能=religious functions |
抄録 | 須彌山第22、24 窟開鑿於北魏時期,也是須彌山最早的中心柱窟。中心柱是印度“窣堵坡”中國化的結果,除了分享舍利莊嚴、佛的象徵等作用以外,還為右繞禮拜佛塔而設。石窟的四壁素壁無造像,可能也是為了突出佛塔禮拜的功能。三層中心塔柱四面的圖像有表現釋迦成佛過程的四相,還有四方佛和千佛,它們都是禪觀的內容,選擇不同的圖像組合,總體都表現禪觀的觀想,是一種有意義的空間組合。
Caves 22 and 24 were created during the Northern Wei Dynasty (386–534) and were the earliest caves with the central pillar structure (Ch. zhongxin zhu 中心柱). Central pillar is a sinicized Indian stūpa, which not only serves as an alter for relics or a symbol of Buddha, but also functions as a stūpa that a visitor could circumambulate clock-wise. All four walls in the grotto have no mural, perhaps in order to highlight the function of the central pillar as the stūpa. The central pillar has three layers and, on all four sides, has the imagery of Four Marks that show the enlightening process of Buddha Śākyamuni, as well as Four-Direction Buddhas and Thousand Buddhas, which all serve as the objects for meditation. Even though the imageries vary in themes, they are all related to the visualization practice during the meditation. In short, the grotto bespeaks a deliberate spatial arrangement. |
目次 | 一、北魏石窟中的覆鬥頂造型 202 二、造像內容與“禪觀” 213 三、中心佛塔的宗教功能與四壁素壁對禮拜供養功能的凸顯 218 (一)佛塔與舍利崇拜、禮儀 218 (二)四壁素壁對禮拜供養的凸顯 225 四、三層十二幅雕像的空間佈局 228 (一)“四相”的佈局 228 (二)中層與下層分別構成了“四方佛” 231 (三)簡化的“千佛”與脅侍菩薩頭上的化生童子 234 四、結論 236 參考文獻 236 |
ISSN | 27050742 (P) |
DOI | 10.6939/HIJBS.201810_1(2).0006 |
ヒット数 | 418 |
作成日 | 2021.03.03 |
更新日期 | 2021.03.18 |
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