本文關(guān)鍵詞：中原北方地區(qū)唐代佛教主尊像研究　出處：《西安美術(shù)學(xué)院》2012年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 主尊像 降魔坐式 貞觀樣式 阿彌陀

【摘要】：佛教自東漢末年初傳我國(guó)到唐代，主尊像從信仰主題到造像形式都發(fā)生了很大的變化，本文旨在對(duì)唐代佛教主尊像，特別是阿彌陀如來造像做出佛教圖像學(xué)、美術(shù)史學(xué)上的探討和研究。 主尊像，顧名思義是佛教信仰的中心，主要被安置在石窟寺或寺院的中心供人們頂禮膜拜。主尊像按題材分主要有釋迦牟尼說法像、釋迦多寶并坐說法像、彌勒佛、盧舍那佛、阿彌陀佛等，按照造像樣式分有結(jié)跏趺坐像、半跏趺坐像立像、倚坐像等等。主尊像可以是獨(dú)尊也可以是多身組合，如釋迦多寶并坐說法像、三世佛造像、七佛藥師如來像等等。本文以貞觀為中心兼及初唐、以開元為中心兼及盛唐兩個(gè)時(shí)期，地域范圍以唐代國(guó)都長(zhǎng)安及洛陽(yáng)為中心，包括甘肅、陜西、山西、河南等北方各省。文中對(duì)中原北方地區(qū)的石窟寺，以及國(guó)內(nèi)外各博物館中收藏的主尊像為降魔坐式，右手作施無畏印，左手伏掌于左膝之上的主尊造像，即“貞觀樣式”的造像給予了特別關(guān)注。對(duì)制作這些造像的地域、時(shí)代、造型特征做出了梳理，同時(shí)在同一石窟內(nèi)作縱向的美術(shù)史學(xué)上的分析，在不同石窟間作橫向的宗教圖像學(xué)上的比較，闡明這一造像樣式在初唐時(shí)代的發(fā)生及對(duì)其后各時(shí)代的影響、變化。在具體研究中，本文主要以石窟考古學(xué)研究中得出的各石窟寺的年代學(xué)報(bào)告，以及各石窟中現(xiàn)存的造像年記為主線，對(duì)中原北方石窟中的同類造像作網(wǎng)點(diǎn)式的研究。同時(shí)關(guān)注典型主尊像的脅侍諸尊以及與主尊有密切關(guān)聯(lián)的壁畫，力求對(duì)主尊像做出客觀的符合歷史真相的研究結(jié)果。 研究結(jié)果表明，唐代的國(guó)都長(zhǎng)安不但是政治、經(jīng)濟(jì)、文化的中心地，同時(shí)也是佛教信仰的中心地。作為貞觀樣式造像，，它初起于貞觀初年，流行在高宗武周治世期間，爛熟于開元時(shí)代，流行在以長(zhǎng)安為中心的中原北方廣大地域。
[Abstract]:From the beginning of the Eastern Han Dynasty to the Tang Dynasty, great changes have taken place in the theme of the main statue and the form of the statue. The purpose of this paper is to make Buddhist imageology on the Buddhist statue of the Tang Dynasty, especially the statue of Amitabha. The exploration and research of art history. As the name implies, it is the center of the Buddhist faith and is mainly placed in the center of the grottoes or monasteries for people to worship. According to the theme, the main idols are Sakyamuni, Sakyamuni and Sakyamuni. Maitreya Buddha, Lucerna Buddha, Amitabha Buddha, etc., according to the figurines, there are leggings, half leggings, reclining statues, etc. The main figure can be single or multi-body combination. Such as Sakya many treasure and sit to say the statue, the third Buddha statue, seven Buddha pharmacist statue and so on. This article takes the Zhenguan as the center and the early Tang Dynasty, takes the Kaiyuan as the center and the prosperous Tang Dynasty and so on. The region is centered on Changan and Luoyang, the capital of the Tang Dynasty, including Gansu, Shaanxi, Shanxi, Henan and other northern provinces. As well as the collection of the main statue in the museums at home and abroad for the defiant sitting, the right hand for fearless imprint, left hand on the left knee on the palm of the statue of the Lord. That is, "Zhenguan style" of the statue to give special attention to the making of these statues of the region, time, modeling features to make a comb, at the same time in the same grotto longitudinal analysis of the history of art. Through the comparison of different intercropped religious imageology, this paper expounds the occurrence of this image in the early Tang Dynasty and its influence on the later times. This paper mainly takes the chronological report of the grottoes' temples obtained from the study of grottoes archaeology as the main line, as well as the yearbook of the existing statues in the grottoes. This paper studies the similar statues in the North Grottoes of Central Plains, and pays close attention to the vassals of the typical statues and the murals closely related to them. Strive to make objective and consistent with the historical truth of the main statue research results. The results show that Changan, the capital of Tang Dynasty, is not only the center of politics, economy and culture, but also the center of Buddhist belief. It was popular in the period of Gao Zongwu's reign in Zhou Dynasty, in Kaiyuan period, and in the northern part of Central Plains with Changan as the center.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類號(hào)】：K879.3;K242

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