本文選題：善化寺 + 大雄寶殿　； 參考：《山西大學(xué)》2011年碩士論文

【摘要】：大同善化寺大雄寶殿東盡間南壁上的《準(zhǔn)提佛母圖》(現(xiàn)已挪至東次間南壁)首次繪制于金太宗天會(huì)年間,重繪(描摹)于清代康熙年間。通過(guò)對(duì)碑文的考證,運(yùn)用考古類(lèi)型學(xué)和圖像分析的方法把該圖與覺(jué)山寺磚塔壁畫(huà)和佛宮寺釋迦塔壁畫(huà)進(jìn)行比對(duì),考訂了壁畫(huà)的繪制時(shí)代。壁畫(huà)雖經(jīng)清代重繪,但仍然保留了遼金之際原初圖像的遺風(fēng),本文在認(rèn)真考訂圖像的基礎(chǔ)上,對(duì)圖像的題材內(nèi)容,準(zhǔn)提佛母圖像的意義和功用,以及圖像產(chǎn)生的時(shí)代原因進(jìn)行了深入的分析和探討,由此認(rèn)為這幅壁畫(huà)巨制,應(yīng)是遼金之際大同地區(qū)佛教各宗派爭(zhēng)勝的過(guò)程中,在五臺(tái)山華嚴(yán)密教思想影響下的產(chǎn)物。本文著重從以下幾方面對(duì)《準(zhǔn)提佛母圖》進(jìn)行研究： 一、首先以壁畫(huà)中部主尊為中心,將畫(huà)分為上、下、左、右、中五部分,上部為黃道十二宮；中部為主尊準(zhǔn)提佛母；主尊右部為觀音菩薩和諸天變相；左部為與大勢(shì)至相似的菩薩和諸天變相。壁畫(huà)人物共有43人,包括佛、菩薩和諸天等,集中反映了準(zhǔn)提佛母的道場(chǎng)情景,還體現(xiàn)了準(zhǔn)提佛母與大殿中彩塑及其他佛菩薩的關(guān)系。 二、對(duì)壁畫(huà)的繪制年代進(jìn)行考訂,通過(guò)對(duì)碑文的考證和將該壁畫(huà)與覺(jué)山寺磚塔和佛宮寺釋迦塔兩處遼金壁畫(huà)圖像進(jìn)行比對(duì),發(fā)現(xiàn)遼金壁畫(huà)的很多特征,并考證了該圖首次繪制于金天會(huì)年間,重繪于清代康熙年間。 三、對(duì)準(zhǔn)提佛母題材進(jìn)行研究。準(zhǔn)提佛母作為救助人道,為眾生延壽護(hù)命之菩薩,以其強(qiáng)大的護(hù)佑功能滿足了不同人們的心理需求,可以護(hù)佑上至皇親貴族,下至庶民百姓,既可以使國(guó)家風(fēng)調(diào)雨順、經(jīng)濟(jì)繁榮、政治穩(wěn)定,又可以令普通百姓達(dá)成所祈之愿,生活順利,無(wú)病無(wú)災(zāi)。因此,準(zhǔn)提佛母贏得了廣泛的信仰。而各種跡象表明,《準(zhǔn)提佛母圖》應(yīng)是遼金之際大同佛教信仰中華嚴(yán)密教思想影響下的產(chǎn)物。 四、遼金大同佛教的興盛有著獨(dú)特的歷史原因：大同作為兵家必爭(zhēng)之地,是戰(zhàn)爭(zhēng)的常發(fā)地帶,當(dāng)?shù)匕傩者^(guò)著朝不保夕的生活,面對(duì)現(xiàn)實(shí)他們無(wú)力改變,只能去尋求精神的依靠,而準(zhǔn)提咒以其廣闊的護(hù)佑范圍和簡(jiǎn)便的道場(chǎng)操作得到了廣大平民的接受。作為遼代陪都和金朝重鎮(zhèn),大同的經(jīng)濟(jì)對(duì)遼金兩朝有著舉足輕重的作用,種植業(yè)的發(fā)展為遼金軍隊(duì)提供了糧食供應(yīng),商業(yè)、鹽業(yè)等其他行業(yè)為遼金朝廷提供了大量的財(cái)政收入,遼金皇家憑借其有力的經(jīng)濟(jì)保障在此大興佛教,為遼金大同佛教的發(fā)展提供了多方面的支持,促使大同佛教更進(jìn)一步的發(fā)展。由于遼道宗對(duì)華嚴(yán)宗的大力支持,遼代佛教中華嚴(yán)宗是第一大派,僅次于其后的是密宗,主要是受覺(jué)苑和道(厄殳)兩位大師的影響,其次是凈土宗,主要受純慧大師的影響。金初大同佛教和遼時(shí)期基本相似,還是以華嚴(yán)派為首,密宗、凈土也多有發(fā)展,禪宗在金代后來(lái)者居上,但大同善化寺還是主要受華嚴(yán)密宗的影響。 該壁畫(huà)場(chǎng)景繁復(fù)、人物眾多、形態(tài)多變、色彩豐富,畫(huà)中豐富的內(nèi)容體現(xiàn)了華嚴(yán)密教的思想體系,反映出了遼金時(shí)期大同佛教的興盛程度,同時(shí)折射出遼金時(shí)期大同的經(jīng)濟(jì)發(fā)展程度和百姓對(duì)和平的渴望,為研究歷史、佛教、藝術(shù)等相關(guān)領(lǐng)域提供了可貴的參考資料。
[Abstract]:In the south wall of the east of the East between the East and the south wall of the east end of the temple of the Datong monastery, it was first drawn in the golden Taizong Tian Hui years, and redrawn (depicting) in the Kangxi years of the Qing Dynasty. By means of archaeological typology and image analysis, the map was painted with the murals of the brick pagoda and the Buddhist temple of the temple of the Buddhist temple. Through the comparison, the time of drawing the murals was examined. Although the fresco was redrawn by the Qing Dynasty, it still retained the relic of the original image on the occasion of the Liao and Jin Dynasties. On the basis of careful examination of the images, this paper made an in-depth analysis and Discussion on the content of the images, the significance and function of the image of the Buddha, as well as the reasons for the generation of the images. In order to achieve this mural painting, it should be the result of the influence of the Buddhist doctrine of the Mount Wutai in the process of winning the victory of the Buddhist sects in the Datong area of the Liao and Jin Dynasties.
First, in the center of the central mural master, the paintings are divided into upper, lower, left, right and middle five parts, and the upper part is the twelve palace of the ecliptic; the central part of the central respect is the mother of Buddha; the right part of the right is Avalokiteshvara and the various days; the left is the transformation of the Bodhisattva and the heavens. There are 43 people in the wall painting, including the Buddha, Bodhisattva and all the heavens. It reflects the scene of the Buddha's temple, and also reflects the relationship between Buddha's mother and the Buddha's Bodhisattva in the hall.
Two, the time of drawing of the murals was examined. Through the examination of the inscriptions and the comparison of the murals with the images of the two Liao and gold mural paintings of the Buddhist monastery and the Buddhist temple of the Buddhist temple of the Buddhist temple of the Buddha Palace temple, we found many characteristics of the murals of the Liao and Jin Dynasties, and examined the drawing of the picture for the first time in the period of the Jin Tian Hui, redrawn in the Kangxi years of the Qing Dynasty.
Three, to carry on the study of the subject of the Buddha. As the Buddha, the Buddha, as a Bodhisattva to save humanity and protect life for all the living, meets the psychological needs of different people with its powerful protection function, and can protect the Royal aristocracy and the common people, which can make the state wind rain, economic prosperity, political stability and the ordinary people. As a result, the mother of Buddha won a wide range of beliefs.
Four, there are unique historical reasons for the prosperity of the Liao and Jin Datong Buddhism. As the battlefield of the war, Datong is the frequent zone of war. The local people live a life of insecurity. Facing the reality they can not change, but they can only seek spiritual reliance, and the mantra has a broad range of protection and simple operation of the Dao field. As the accompanying capital of the Liao Dynasty and the heavy town of Jin Dynasty, the economy of Datong played an important role in the Liao and Jin two dynasties. The development of the planting industry provided the Liao Jin army with grain supply, business, salt industry and other industries provided a large amount of financial revenue for the Royal court of Liao and Jin Dynasties. For the development of the Liao and Jin Datong Buddhism, it has provided many support to promote the further development of Datong Buddhism. Due to the strong support of the Liaodao sect to China, the Chinese Yan Zong is the first major school in the Liao Dynasty, second only to the close sect, mainly the influence of two masters of the Zong Yuan and Tao (Ehu), followed by the pure land, mainly by pure wisdom. The influence of master. Jin Chu was basically similar to Buddhism and Liao Dynasty. It was led by the martial art school, the secret sect and the pure land developed more. The Zen Buddhism lived in the Late Jin Dynasty, but the temple of the great harmony was mainly influenced by the Chinese martial law.
The murals are complex, numerous, varied in shape and rich in color. The rich content of the painting embodies the ideological system of Huayan and dense education, reflects the prosperity of Buddhism in the Liao and Jin period, and reflects the economic development of Datong in the Liao and Jin Dynasties and the desire of the common people for peace, for the study of history, Buddhism, and art. A valuable reference is provided.

【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：K879.4

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本文編號(hào)：1783654