本文關(guān)鍵詞：藏傳佛教構(gòu)建的共生空間—壇城（曼荼羅）藝術(shù)的表現(xiàn)形式研究　出處：《南昌大學(xué)》2016年碩士論文　論文類(lèi)型：學(xué)位論文

  更多相關(guān)文章： 共生思想 藏傳佛教 壇城(曼荼羅) 集體無(wú)意識(shí)

【摘要】：壇城(曼荼羅)是一個(gè)古老的不同文化的民族中都可以找到原型的表現(xiàn)形式,從瑞士精神學(xué)家榮格的理論方面出發(fā)來(lái)看,壇城(曼荼羅)是人類(lèi)集體潛意識(shí)的產(chǎn)物,古老的曼荼羅圖像在舊石器時(shí)代就已經(jīng)產(chǎn)生。共生的核心思想是源于對(duì)東方哲學(xué)“唯識(shí)”思想的延伸,無(wú)論是大成佛教的“空”、中國(guó)道教的“道”還是印度哲學(xué)的非二元論等不同的思想,最終的落腳點(diǎn)都關(guān)注與現(xiàn)當(dāng)代的“共生”�，F(xiàn)代物理學(xué)在不斷的發(fā)展更新當(dāng)中,有一個(gè)明確的基本觀(guān)點(diǎn):世界是一個(gè)整體。藏傳佛教的觀(guān)點(diǎn)則是:每一個(gè)存在物都包含著宇宙。而所謂的壇城藝術(shù),實(shí)際上是一個(gè)微觀(guān)的世界,是佛教的混元宇宙觀(guān)、世界觀(guān)和佛家理想世界的具象模式。20世紀(jì)80年代末,著名的日本建筑師和建筑理論家黑川紀(jì)章提出了共生思想,并作為其建筑設(shè)計(jì)的核心理論得以實(shí)踐�！肮采痹臼巧鷳B(tài)學(xué)的概念,在生態(tài)學(xué)的領(lǐng)域體現(xiàn)為“共棲”。印度哲學(xué)的“絕對(duì)不二論”、吠檀多學(xué)派的思想、龍樹(shù)的唯識(shí)思想,以及大乘佛教中“空”的概念等東方哲理,都是“共生理論”的原點(diǎn)。共生思想的重點(diǎn)來(lái)自東方哲學(xué)“唯識(shí)”,唯識(shí)思想是超越現(xiàn)代主義和二元論的共生思想的圣經(jīng),而佛教則是徹底摒棄二元論的觀(guān)念,認(rèn)為宇宙中萬(wàn)事萬(wàn)物都相互依賴(lài),處于永恒的變化之中,壇城繪畫(huà)的圓形構(gòu)圖非常清晰地闡述了這個(gè)觀(guān)念。因此,從哲學(xué)角度來(lái)看,用“共生空間”觀(guān)念來(lái)理解壇城藝術(shù)是非常合理的一種思路。本文以藏傳佛教的藝術(shù)發(fā)展為背景,站在共生思想的角度剖析壇城藝術(shù)的圖式,嘗試結(jié)合新共生思想、藏傳佛教藝術(shù)史、圖式美學(xué)等藝術(shù)形式分析壇城圖式的審美特色,觀(guān)察和探討曼荼羅圖式中的隱喻的共生空間。研究視角定在由曼荼羅(壇城)這個(gè)藝術(shù)形式中所呈現(xiàn)的佛教“緣起”以及東方哲理中“共生思想”在哲學(xué)上的一種共鳴的體現(xiàn)。從共生思想這個(gè)視角去探尋在曼荼羅藝術(shù)中圖案、構(gòu)圖、色彩等各方面所呈現(xiàn)的共生理念的部分,以及對(duì)本人藝術(shù)創(chuàng)作的啟發(fā)與關(guān)聯(lián)。
[Abstract]:Mandala (Mandala) is one of the ancient peoples of different cultures can be found in form of prototype, starting from the Swiss psychiatrist Carl Jung theory perspective, Mandala (Mandala) is a product of human collective unconscious, the images of the ancient in the Paleolithic has already been produced. The core idea of symbiosis is derived from the extension of the Oriental philosophy "consciousness" thought, whether it is a Buddhist "empty", China "Tao" or India philosophy of non dualism of different ideas, the ultimate goal is concerned with the contemporary "symbiosis". In the course of the continuous development and renewal of modern physics, there is a clear basic view that the world is a whole. The view of Tibetan Buddhism is that every existence contains the universe. The so-called Mandala art, is actually a microscopic world, Buddhist cosmology, figurative Hunyuan pattern of world outlook and the Buddhist ideal world. In the late 1980s, Kurokawa, a famous Japanese architect and architectural theorist, proposed the idea of symbiosis and practiced it as the core theory of its architectural design. "Symbiosis" is the original ecology concept in ecology field is the embodiment of "symbiosis". India's "absolute philosophy of Advaita Vedanta," School of thought, Nagarjuna's consciousness, and the Mahayana Buddhism "empty" concept of Eastern philosophy, is the "origin symbiosis theory". The key idea of symbiosis from the Eastern philosophy "consciousness", consciousness is beyond the symbiosis thought of modernism and the dualism of the Bible, and Buddhism is completely abandon the concept of dualism, that everything in the universe are interdependent, in constant change, Mandala painting very circular composition clearly describes the concept. Therefore, from a philosophical point of view, with the "common space" concept to understand the mandala art is a very reasonable approach. Based on the background of Tibetan Buddhist art development, standing in the point of view of symbiosis idea Tancheng art schema, try aesthetic features combined with the new idea of symbiosis, Tibetan Buddhist art history, aesthetics and other art forms of the mandala schema schema, observe and study the symbiosis spatial metaphor in the mandala schema. The research perspective in the mandala (a Buddhist Mandala) reflect the resonance of "origin" presents the art form and Oriental philosophy in the concept of "symbiosis" in the philosophy of. To explore the concept of symbiosis part presents the pattern, composition and color of Mandala art from the perspective of symbiosis thought, and the inspiration and relevance of my art creation.
【學(xué)位授予單位】：南昌大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：TU252

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