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運用結構主義解析佛教圖像：以法國國立吉美亞洲藝術博物館藏〈降魔成道圖〉MG. 17655 為例=A Structuralist Approach for Deciphering Buddhist Paintings: The Case of The Assault of Māra (MG. 17655) in the Guimet Museum, Paris |
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| 著者 |
楊麗貞 (著)
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| 掲載誌 |
故宮學術季刊=The National Palace Museum Research Quarterly
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| 巻号 | v.39 n.1 秋季號 |
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| 出版年月日 | 2021.09 |
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| ページ | 39 - 79 |
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| 出版者 | 國立故宮博物院 |
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| 出版サイト |
https://www.npm.gov.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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| ノート | 作者單位: 法國高等社會科學院藝術史暨藝術理論博士 |
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| キーワード | 佛教藝術=Buddhist art; 敦煌佛畫=Buddhist paintings of Dunhuang; 降魔成道=The Assault of Māra; 悟道=Enlightenment; 七寶=Seven treasures; 神通=Supernatural power |
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| 抄録 | 法國國立吉美亞洲藝術博物館藏編號 MG. 17655 的絹畫〈降魔成道圖〉由三部份組合而成：中央畫幅、兩側邊幅和下方橫幅。百年來學界都習於以中央的「降魔成道」主題看待它，其它兩部份結合的整體意義，至今所知有限。事實上，對佛教圖像的解讀，深入經藏乃是一項基本功。對 MG. 17655 的謎題不應滿足於「降魔成道」這個梗概的故事，應該擴大經文義理的研究，「移入」畫者的宗教畫思，來找尋答案。本文借用 1970 年代結構主義的理論—內部關係、牽連性、對比性—來搜索與降魔成道、佛陀悟道相關的內容，發現十數本佛本行經文有一種共同的三點結構，它們分別敘述佛陀悟道前、悟道當下、悟道後的三種德能。本畫中三組圖像—中央、側幅、和下幅，正是在表現這三種不同時間點和本質的德能。為方便指稱，本文暫以七寶性德、降魔智德、及悟道神通來加以形容。它們正是本畫三部份個別的意義。表達這三種佛陀的德能才是 MG. 17655 全畫的完整意涵。
The silk painting The Assault of Māra, accession number MG. 17655, in the Guimet National Museum of Asian Arts in Paris is composed of the central scene, the minor scenes on both sides, and the scene in the lower band. For over a hundred years, academic circles used to consider the painting as the subject of “The Assault of Māra” according to the central scene. Knowledge about the integrated meaning of its triple composition, however, is limited. In fact, exploring sutras is the “nuts and bolts” of deciphering Buddhist paintings. Facing the mystery of MG. 17655, it should not be limited to the general idea of “The Assault of Māra,” but be enlarged to include studies on doctrinal texts and to have “empathy” with the painter’s religious thoughts in searching for the answer. This article borrows theories of Structuralism from the 1970s, namely “internal relations,” “correlation,” and “opposition,” to look for textual contents related to “The Assault of Māra” and “The Enlightenment of Buddha.” That resulted in the finding of a trifold textual structure commonly existing in more than ten sutras which narrate the biographical stories of Buddha: three kinds of the Buddha’s virtues and powers are described before, at the instant of, and after His enlightenment. The triple composition in the painting MG. 17655 – the central scene, those on the both sides, and that on the lower band – depicts exactly these three virtues of different natures and different time points. For convenience, we can relate them with the terms “The Innate Virtue of Seven Treasures,” “The Wisdom Virtue of Conquering Demons,” and “The Supernatural Power after Enlightenment.” They are the respective meanings of the three parts. It is to convey these three kinds of the Buddha’s virtues that constitutes the complete meaning of MG. 17655. |
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| 目次 | 一、引言 40
二、〈降魔成道圖〉MG. 17655 的研究難題 41
三、用結構主義解析〈降魔成道圖〉MG. 17655 45
（一）三重構圖的意涵 45
（二）中譯佛經的三重架構 46
（三）七寶圖 49
（四）兩側十二幅小佛像 52
四、結論 58
引用書目 60 |
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| ISSN | 10119094 (P) |
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| ヒット数 | 397 |
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| 作成日 | 2022.04.07 |
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| 更新日期 | 2023.12.28 |
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