本文選題：佛傳圖像 + 克孜爾石窟��； 參考：《華東師范大學(xué)》2017年博士論文

【摘要】：佛傳故事是佛教三大故事之一,也是古代龜茲佛教藝術(shù)表現(xiàn)的主要題材。因佛傳故事與佛學(xué)思想的互證性,藝術(shù)風(fēng)格與文化傳播的關(guān)聯(lián)性,題材偏好與本土化的復(fù)雜性,吸引了較多學(xué)者對龜茲佛教藝術(shù)的關(guān)注。克孜爾石窟作為龜茲佛教遺址中保存最好、規(guī)模最大的石窟群,其佛傳故事題材數(shù)量堪稱國內(nèi)之最。目前,針對克孜爾石窟佛傳題材研究的論著頗多,不乏有咳唾成珠的大家之作,文章多以克孜爾石窟中的代表性佛傳圖像為線索,闡述古代龜茲石窟的營建年代與佛學(xué)思潮。但在克孜爾壁畫"西域風(fēng)格"的內(nèi)涵研究方面裹足不前,對克孜爾石窟藝術(shù)源流的分析,過于強(qiáng)調(diào)犍陀羅佛教藝術(shù)的影響度。以上兩點(diǎn)都忽略了本土文化的主體性,以及古代龜茲對中印度藝術(shù)風(fēng)格兼收并蓄的主觀因素。本文以克孜爾、印度實(shí)地考察資料為基礎(chǔ),以相關(guān)犍陀羅出版文獻(xiàn)為參照,對部分重點(diǎn)題材進(jìn)行梳理與比對,包括佛傳藝術(shù)的題材組合、序列邏輯、主題思想的宏觀構(gòu)架,和人物造型、情節(jié)演進(jìn)等微觀流變兩個方面,試論克孜爾佛傳藝術(shù)中人物神格化塑造的成因。并以此為主線,重新審視影響克孜爾石窟佛傳藝術(shù)形成的外緣與內(nèi)因,如從犍陀羅對克孜爾佛傳圖像序列、右旋觀圖影響的深度,中南印度藝術(shù)對克孜爾佛傳人物三姿造型影響的廣度,以及波斯文明在克孜爾石窟藝術(shù)中的介入身份等方面,提出新的觀點(diǎn)和研究視角。具體呈現(xiàn)在文章的三個環(huán)節(jié)中:第一環(huán)節(jié)為基礎(chǔ)梳理。首先是克孜爾佛傳題材的重新統(tǒng)計。近年來克孜爾佛傳圖像研究的成果雖層見疊出,但較為零散,在題材總數(shù)、圖像定名和窟位描述上各執(zhí)一詞,造成統(tǒng)計混亂和個別圖像的窟位錯誤。文中對上述問題進(jìn)行文獻(xiàn)比對和圖文互證,將克孜爾石窟繁多的佛傳題材分為五個階段,進(jìn)行圖像志梳理。文中對釋迦各個階段的佛傳圖像,進(jìn)行提要概括和側(cè)重點(diǎn)描述,對前期克孜爾佛傳題材成果的統(tǒng)計增補(bǔ)了 22個情節(jié),主要從題材遺漏、情節(jié)拆分、圖像辨識三個方面,說明增補(bǔ)故事題材來源,希望對學(xué)界克孜爾佛傳圖像的后續(xù)研究,起到推進(jìn)作用。其次應(yīng)用田野調(diào)查、藝術(shù)風(fēng)格學(xué)的相關(guān)方法論,對克孜爾佛傳故事中的傳記故事與因緣說法、題材與窟位、內(nèi)容與構(gòu)圖、中心柱窟佛傳圖與方形窟佛傳圖等五組關(guān)聯(lián)體進(jìn)行分類統(tǒng)計,從而以克孜爾石窟的營建法式為構(gòu)架,分析佛傳故事圖像在不同石窟空間中的意義與作用,并依據(jù)統(tǒng)計結(jié)果對中心柱窟佛傳題材的藝術(shù)營造作出客觀稱述。本環(huán)節(jié)多以圖表統(tǒng)計、三維圖示為主,文法雖有枯燥,卻是后文論證根基。第二環(huán)節(jié)為人物神格化造像的起源分析。研究基于對克孜爾佛傳故事圖像"人物神格化造像"區(qū)別于龜茲以西的犍陀羅、以南的印度和以東地區(qū)的世俗化造像特征。文中運(yùn)用圖像學(xué)的研究方法,從早期佛教藝術(shù)象征物的符號表現(xiàn),奇跡中的佛陀造像和佛塔崇拜中的法身信仰幾個方面,分析大小乘佛學(xué)思想下的法身信仰的表現(xiàn)方式,并以此為理論支點(diǎn),探討克孜爾石窟佛傳人物角色差異性表現(xiàn)的思想來源和美學(xué)基礎(chǔ),以及這種神學(xué)表現(xiàn)思想在克孜爾石窟中,向佛國世界的圖像化和反面人物的妖魔化等藝術(shù)領(lǐng)域的蔓延。第三環(huán)節(jié)為克孜爾佛傳圖像的多元文化解析。運(yùn)用藝術(shù)風(fēng)格學(xué)、圖像學(xué)的相關(guān)研究方法,對克孜爾佛傳圖像中的藝術(shù)傳承進(jìn)行研究,范圍包括影響克孜爾佛傳圖像形成的兩個外因,即犍陀羅、中印度佛教藝術(shù),以及彌勒本土信仰的內(nèi)因。兩個外因都從佛傳藝術(shù)的表現(xiàn)形式、構(gòu)圖方式和人物動態(tài)的細(xì)節(jié)方面,為克孜爾石窟佛傳圖像提供了摹本和參照,但對圖像程式化傳承的同時也體現(xiàn)了本土的創(chuàng)新意識。內(nèi)因方面,則從社會學(xué)的角度分析了克孜爾佛傳情節(jié)中的君王思想,討論了龜茲國王、王后的神格塑造和佛傳情節(jié)中轉(zhuǎn)輪王信仰之間的聯(lián)系。以上三個方面的研究,是從不同角度理解克孜爾與犍陀羅、中印度佛教藝術(shù)之間的流變關(guān)系,望提出新的見解。
[Abstract]:The story of Buddha's biography is one of the three main stories of Buddhism and also the main theme of the ancient king of the Buddhist art. Because of the mutual evidence of Buddhism and Buddhism, the relevance of artistic style and cultural communication, the complexity of subject matter preference and localization, many scholars have attracted the attention of the art of the toozi Buddhism. The site is the best preserved and largest group of grottoes, with the largest number of Buddhist stories in China. At present, there are many works on the study of the subject of the caves of the grotto grottoes. However, in the study of the connotation of "western style" in the murals of the GZI, the analysis of the origin of the grotto Grottoes has overemphasized the influence of Buddhist art in gharghara. Both of the above ignored the subjectivity of the local culture and the subjective factors of the ancient king's artistic style. Based on the field investigation data of India and referring to the relevant gand galand published literature, some of the key themes are combed and compared, including the combination of the subject matter of the Buddhist art, the sequence logic, the macro frame of the theme, the character modeling, the evolution of the plot and so on in two aspects, on the figure deity in the kiz Buddha's art. On the basis of this, we re examine the external and internal causes affecting the formation of the Buddhist art of the grotto grottoes, such as the depth of the influence of the image sequence of the gand gand gand to the image sequence of the cgggl Buddha, the influence of the dextral view, the influence of the India Art on the shape of the three posture of the people of the cggl Buddha, as well as the Persian civilization in the grotto grottoes. A new view and research perspective are put forward in the three links of the article: the first link is based on the first link. The first is the re statistics of the subject matter of the cgggl Buddha. In recent years, the results of the study of the image of the cggl Buddha are scattered, but they are scattered, in the total number of subjects, in the name of the image and in the description of the grottoes. In this paper, there are five stages of the biography of the Buddha's biography in the caves of the gggi grottoes. The statistics of the subject matter add 22 plots, mainly from three aspects of the omission of the subject, the separation of the plot, and the identification of the images, which indicate that the source of the story is added, and it is hoped to promote the follow-up study of the image of the knowledge of the Buddhism. Secondly, the field investigation and the related methodology of art style are applied to the biography of the legend of the genie. The five groups of related bodies, such as the story and the karma, the subject and the grottoes, the content and the composition, the Buddhist grottoes of the caves and the square grottoes, are classified and counted, thus the meaning and function of the image of the Buddha's story in the different grottoes are analyzed by the construction of the kzi grottoes, and the biography of the caves in the central Grottoes is analyzed according to the statistical results. The artistic creation of the material is described objectively. This link is mainly based on chart statistics, three-dimensional graphics, although the grammar is boring, but it is the foundation of the later argumentation. The second link is the origin analysis of the characterization of the characters. By using the method of iconography in the East, the paper analyzes the expression of the symbol of the early Buddhist art symbols, the Buddha statues in the miracles and the faiths of the Buddhist pagodas, and analyzes the expression of the faiths of the faiths in the Buddhist thought, and discusses the kzi Grottoes as the theoretical fulcrum. The ideological source and aesthetic basis of the difference of the characters of the Buddha's characters, and the spread of this theological expression in the grottoes of the king grottos, the image of the Buddhist world and the demon of the opposite characters. The third link is the multicultural analysis of the image of the cggl Buddha. Methods to study the artistic inheritance of the image of the cgggl Buddha, including the two external causes affecting the formation of the image of the cgggl Buddha, that is, gand gand gand, the Buddhist art in central India, and the internal cause of the native faith in Maitreya. The two external causes are all the forms of the Buddha's art, the pattern of construction and the dynamic details of the characters, for the caves of the GZI. The image of the Buddha's biography provides a copy and reference, but it also embodies the indigenous innovation consciousness at the same time. In the aspects of internal reasons, the king's thought in the Kisis Buddha's plot is analyzed from the perspective of sociology, and the relations between the king of Kamin, the Queen's deity and the faith of the king of the transfer wheel in the Buddha's plot are discussed. Three The research in this field is to understand the rheological relationship between the India and the Buddhist art in the different perspectives, and to put forward new ideas.

【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：K879

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本文編號：1865783