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韓國高麗時代佛教經文書法之探討=The Study of the Buddhist Scripture Calligraphy in the Goryeo Dynasty of Korea |
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| 著者 |
趙太順 (著)=Joh, Tae-son (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.35 |
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| 出版年月日 | 2021.03.31 |
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| ページ | 129 - 166 |
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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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| キーワード | 高麗王朝=Goryeo Dynasty; 佛經抄寫=Buddhist scripture transcription; 書法風格=calligraphy style |
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| 抄録 | 在韓國三國時代，書法大多流行於王公貴族、士族以及僧侶之中，因研讀佛經及抄經之必要，所以這些人必須會寫漢字。而後中國的漢字
在經過三國、統一新羅（含後三國）、高麗及朝鮮初的大量使用，成了通用的文字，漢字不僅是承載意義的符號，同時也是美感體驗與展現的
對象，寫書法成為士人階級的閒暇活動之一；韓國的書法形式自然地受中國的陶染，連帶的韓國佛教僧侶也因此受到中國書法的影響。早期一
般士人傳授佛教經典，皆用手抄寫，後來由於廣大信徒的需求，開始加入木刻及鉛印書法，故而僧侶中不乏有寫字的高手。
高麗的佛經延續於唐代的楷書風尚，大多為楷書風格，可以說十二世紀前的佛經大部分是楷書，即便是木刻版或鉛印版本也多為楷書。高
麗的寫經風氣，最久遠可追溯到 1006 年穆宗之母，千秋太后皇甫氏和外戚金到陽，一起發願的「金字大藏」。當時寫經的書法家是崔成朔，
受到當代書寫風尚的影響，自然也是楷書的書風。
研究高麗時代佛經主要的書法史料，大多藉由「石文、寫經、大藏經」來了解整個朝代的書法脈絡。本文擬透過現今由韓國國家保存的高麗時代之國寶佛經，及寶物佛經來解析當代佛教書法的概況。
In the Three Kingdoms period of Korea, calligraphy was mostly popular with aristocrats, scholars, and monks. Out of the necessity of studying and transcribing Buddhist scriptures, these people must learn to
write Chinese characters. After massive usage through the Three Kingdoms period, Later Silla (post Three Kingdoms), Goryeo, and early Joseon Dynasty, Chinese characters achieved its popularity. They were not only signifiers of meaning but also objects of aesthetic experience and display. Chinese calligraphy writing became one of the leisure activities among
scholars. Naturally, Korean calligraphy was influenced by China, and consequently Korean Buddhist monks were also influenced by Chinese calligraphy. Early scholars transcribed Buddhist scriptures by hand. Later, because of the wide demand of believers, woodcut and letterpress printing calligraphy were added. Therefore, some Buddhist monks were excellent calligraphers.
Goryeo Buddhist scriptures followed the regular script (kai) style of the Tang Dynasty of China. Most Buddhist scriptures before the twelfth century were in the regular script, including the woodcut or letterpress printing versions. The fad of transcribing Buddhist scriptures of Goryeo can be traced back as far as 1006, when Queen Dowager Cheonchu (mother of Mokjong)
and Kim Chi-Yang made a vow to complete the Tripitaka, transcribed by calligrapher Choi Soung-Sag with gold ink, also in the style of regular script. The study of the calligraphy of Goryeon Buddhist scriptures is mainly
based on stone texts, scripture transcriptions, and the tripitaka, to comprehend the context of the calligraphy of the whole dynasty. This article aims at analyzing Goryeon Buddhist calligraphy through the national treasure of Buddhist scriptures preserved by the country. |
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| 目次 | 一、前言
二、中國抄寫經書概況
三、高麗抄寫經書概況
四、國寶經書與寶物經書
（一）紺紙銀泥《不空羂索神變真言經》
（二）紺紙銀泥《菩薩善戒經》
（三）紺紙金泥《大方廣佛華嚴經‧入不思議解脫境界普賢行願品》真元本
（四）紺紙銀泥《大方廣佛華嚴經》
（五）麻紙銀泥《大佛頂首楞嚴經》
（六）橡紙銀泥《妙法蓮華經》
（七）白紙墨書《妙法蓮華經》
（八）紺紙金泥《妙法蓮華經》
（九）紺紙金泥《大佛頂如來密因修證了義諸菩薩萬行首楞嚴經》
五、結語
參考書目
一、藏經與古籍
二、專書
三、論文
四、網站 |
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| ISSN | 18133649 (P) |
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| ヒット数 | 54 |
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| 作成日 | 2021.11.22 |
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| 更新日期 | 2021.11.26 |
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