洛陽(yáng)白馬寺與洛陽(yáng)博物館藏原慈寧宮大佛堂佛教文物研究
發(fā)布時(shí)間：2018-11-14 20:46
【摘要】：近年來(lái),關(guān)于清代皇帝佛教信仰有了諸多的討論,并出現(xiàn)了很多富有成果的學(xué)術(shù)論文和專著。如故宮博物院羅文華先生的《龍袍與袈裟》,故宮博物院王子林先生的《在乾隆的星空下——乾隆皇帝的精神境界》等專著,可是對(duì)于偏居“冷宮”慈寧宮皇太后的佛教信仰卻鮮有深入涉及,沒(méi)有單獨(dú)的論文對(duì)此問(wèn)題進(jìn)行深入闡釋。本文以洛陽(yáng)白馬寺與洛陽(yáng)博物館所藏原慈寧宮大佛堂佛教文物為切入點(diǎn),從圖像學(xué)、風(fēng)格學(xué)等方面分析佛教文物的宗教與藝術(shù)內(nèi)涵,結(jié)合清宮檔案、大佛堂建筑,將佛教文物回溯安放至明清時(shí)期慈寧宮大佛堂的原境之中,試圖鉤沉明清紫禁城慈寧宮區(qū)域——相對(duì)私密的宮廷女眷佛教信仰與生活。 論文分為四個(gè)部分,第一部分主要梳理故宮慈寧宮與慈寧宮大佛堂的歷史沿革,并回顧慈寧宮大佛堂文物如何棲身洛陽(yáng)。 第二部分是對(duì)現(xiàn)在洛陽(yáng)白馬寺和洛陽(yáng)博物館及其洛陽(yáng)民俗博物館等單位所收藏的慈寧宮大佛堂佛教文物進(jìn)行圖像學(xué)和風(fēng)格學(xué)的分析。 第三部分,結(jié)合文獻(xiàn)檔案和大佛堂建筑等對(duì)洛陽(yáng)所藏大佛堂佛教文物所引發(fā)的幾個(gè)問(wèn)題做一討論。第一對(duì)現(xiàn)在白馬寺收藏的原大能仁寺24尊造像淵源考證,第二是大佛堂佛教文物的來(lái)源問(wèn)題,第三是關(guān)于大佛堂陳設(shè)與主題。 結(jié)論部分集中討論大佛堂佛教文物在不同場(chǎng)景、空間的變遷,導(dǎo)致佛教文物語(yǔ)意的變化,最后闡釋文物的流轉(zhuǎn)變遷對(duì)中國(guó)美術(shù)史寫作產(chǎn)生的影響。 本文以物證史,從佛教造像、建筑空間等角度探討明清皇太后的佛教信仰,一定程度上填補(bǔ)了對(duì)明清皇太后佛教信仰這一研究課題的不足。這對(duì)于搞清楚明清之際宮廷佛教信仰,滿、漢、蒙等民族文化交流與融合,并推動(dòng)相關(guān)領(lǐng)域的研究走向深入有著重要的作用。
[Abstract]:In recent years, there has been a lot of discussion about the Buddhism belief of Qing Dynasty emperors, and a lot of fruitful academic papers and monographs have appeared. For example, the Palace Museum, Mr. Luo Wenhua, "Dragon robes and cassock", the Palace Museum Prince Lin, "under the stars of Qianlong-Emperor Qianlong's spiritual realm," and other monographs, However, the Buddhist belief of empress queen of Zining Palace is seldom involved, and there is no separate paper to explain this problem in depth. In this paper, the Buddhist relics of the Great Buddhist Hall of the Zining Palace in Luoyang and the Museum of Luoyang are taken as the breakthrough point. The religious and artistic connotations of the Buddhist relics are analyzed from the aspects of graphology and stylistics, and combined with the archives of the Qing Palace, the architecture of the Great Buddhist Hall. The Buddhist relics were placed back into the original state of the Great Buddhist Hall of the Zining Palace in the Ming and Qing dynasties, in order to try to catch up with the Buddhist faith and life of the relatively private court women in the Zining Palace area of the Forbidden City of the Ming and Qing dynasties. The paper is divided into four parts. The first part mainly combs the historical evolution of the The Imperial Palace's Zining Palace and the Zining Palace's Great Buddha Hall, and reviews how the cultural relics of the Zining Palace's Great Buddhist Hall live in Luoyang. The second part is the analysis of the Buddhist relics of the Great Buddhist Hall of the Zining Palace which are collected by the Baima Temple and Luoyang Museum and the Luoyang Folk Museum in Luoyang. In the third part, some problems caused by Buddhist relics of Dafatang in Luoyang are discussed in combination with literature archives and Dafatang architecture. The first is the origin of the original 24 statues of Daneng Ren Temple, the second is the origin of the Buddhist relics of the Dafatang, and the third is about the furnishings and themes of the Great Buddhist Hall. The conclusion part focuses on the changes of Buddhist cultural relics in different scenes and spaces, which leads to the changes in the meaning of Buddhist cultural relics. Finally, it explains the influence of the circulation of cultural relics on the writing of Chinese art history. In this paper, the Buddhist belief of empress in Ming and Qing dynasties is discussed from the angle of the history of physical evidence, Buddhist statues and architectural space. To some extent, it fills up the deficiency of the research on the Buddhist belief of empress in Ming and Qing dynasties. This plays an important role in understanding the Buddhist belief of the court during the Ming and Qing dynasties, the cultural exchange and integration of Manchu, Han and Mongolian nationalities, and promoting the research in related fields.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：K878.6
本文編號(hào)：2332255
[Abstract]:In recent years, there has been a lot of discussion about the Buddhism belief of Qing Dynasty emperors, and a lot of fruitful academic papers and monographs have appeared. For example, the Palace Museum, Mr. Luo Wenhua, "Dragon robes and cassock", the Palace Museum Prince Lin, "under the stars of Qianlong-Emperor Qianlong's spiritual realm," and other monographs, However, the Buddhist belief of empress queen of Zining Palace is seldom involved, and there is no separate paper to explain this problem in depth. In this paper, the Buddhist relics of the Great Buddhist Hall of the Zining Palace in Luoyang and the Museum of Luoyang are taken as the breakthrough point. The religious and artistic connotations of the Buddhist relics are analyzed from the aspects of graphology and stylistics, and combined with the archives of the Qing Palace, the architecture of the Great Buddhist Hall. The Buddhist relics were placed back into the original state of the Great Buddhist Hall of the Zining Palace in the Ming and Qing dynasties, in order to try to catch up with the Buddhist faith and life of the relatively private court women in the Zining Palace area of the Forbidden City of the Ming and Qing dynasties. The paper is divided into four parts. The first part mainly combs the historical evolution of the The Imperial Palace's Zining Palace and the Zining Palace's Great Buddha Hall, and reviews how the cultural relics of the Zining Palace's Great Buddhist Hall live in Luoyang. The second part is the analysis of the Buddhist relics of the Great Buddhist Hall of the Zining Palace which are collected by the Baima Temple and Luoyang Museum and the Luoyang Folk Museum in Luoyang. In the third part, some problems caused by Buddhist relics of Dafatang in Luoyang are discussed in combination with literature archives and Dafatang architecture. The first is the origin of the original 24 statues of Daneng Ren Temple, the second is the origin of the Buddhist relics of the Dafatang, and the third is about the furnishings and themes of the Great Buddhist Hall. The conclusion part focuses on the changes of Buddhist cultural relics in different scenes and spaces, which leads to the changes in the meaning of Buddhist cultural relics. Finally, it explains the influence of the circulation of cultural relics on the writing of Chinese art history. In this paper, the Buddhist belief of empress in Ming and Qing dynasties is discussed from the angle of the history of physical evidence, Buddhist statues and architectural space. To some extent, it fills up the deficiency of the research on the Buddhist belief of empress in Ming and Qing dynasties. This plays an important role in understanding the Buddhist belief of the court during the Ming and Qing dynasties, the cultural exchange and integration of Manchu, Han and Mongolian nationalities, and promoting the research in related fields.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：K878.6
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