【摘要】：具有東南亞風格的阿嵯耶觀音像出現于南詔晚期,是南詔、大理國最受尊崇的一位神yG,對于在許多方面深受中原文化影響的南詔國而言,以阿嵯耶觀音代替漢地觀音成為主尊,其中必有原因,阿嵯耶觀音的出現對南詔究竟有何意義和功能,她在南詔與唐王朝的交往中充當著怎樣的角色?其的影響如何?本文旨在通過對阿嵯耶觀音圣像來源的探討,進而分析南詔與中原唐王朝的關系及阿嵯耶觀音在其中的凸現的歷史作用和意義,最終揭示出阿嵯耶觀音圣像后面所隱藏著的思想實質:即她是南詔國王權意識、民族意識精神的象征! 全文分為六章,各章大意如下: 第一章為緒論,首先,詳述本文寫作的目的、意義。由于阿嵯耶觀音像獨特的造型和濃郁的地方特色信仰,長期來都受到中外學者的普遍關注,尤其是對其造型來源,雖有多方研究,但至今尚無定論。而阿嵯耶觀音在南詔歷史上所受到崇拜的至尊地位,又不得不使我們對其造型來源和在南詔的作用和意義進行深入地探討。其次,對中外有關阿嵯耶觀音研究的現狀進行回顧評述。任何學術的研究都是在尊重、吸收前人研究的成果和方法的基礎上進行的,有繼承才有發(fā)展。前人對阿嵯耶觀音的研究給我們很大的啟示,以此為線索,使我們能夠明確研究的方向。最后,在充分掌握歷史文獻、資料的基礎上,應用圖像學、社會學、比較等方法對阿嵯耶觀音造型和信仰展開深入細致地研究�！� 第二章由對《南詔圖傳》制作的回顧,說明阿嵯耶觀音圣像在大理地區(qū)的傳說來源,然后對其造型特點以及在《南詔圖傳》、張勝溫《梵像卷》和劍川石窟中的形象作具體論述,并與同時期,即唐宋時期的漢傳佛教和藏傳佛教中的觀音像進行比較,以此說明阿嵯耶觀音造型和風格均與這兩地的觀音像完全不同,另有其來源。根據前人的研究提示,阿嵯耶觀音圣像造型可能來自東南亞。事實是否如此,需要我們對東南亞及印度的觀音造型進行研究,才能最后作出結論。 第三章東南亞的佛教及佛教藝術的源頭在印度,不了解印度的觀音造型和風格就不可能對東南亞的觀音造型和風格有深入地認識,也就無法明確阿嵯耶觀音造型的真正來源。因此,本章探討了印度的觀音信仰和觀音造型,并指出源于印度的不同的觀音造型及風格對東南亞、中國、中亞等地區(qū)都有巨大的影響,尤其是對東南亞的影響最為深刻、長久。 第四章東南亞是印度化最強烈的地區(qū),在政治、文化、宗教等方面都深受印度文明的影響,尤其是佛教及其藝術最為明顯。然而,沒有佛教的傳入、流行就不可能有佛教藝術的存在。在這章里,我們首先論述了佛教在東南亞的傳播和發(fā)展情況,尤其是觀音的信仰和傳播情況,同時強調了佛教的繁榮發(fā)展極大地刺激了佛教藝術的興旺發(fā)達,而佛教藝術的發(fā)展更進一步促進了佛教的廣泛傳播,兩者相得益彰。 其次,重點論述了7-13 世紀東南亞觀音造型和風格。7-13 世紀是東南亞佛教,尤其是大乘佛教和密宗發(fā)展的鼎盛時期,東南亞盛行的觀音造像鮮明地反映了這一點。由于阿嵯耶觀音造型來自東南亞,東南亞的觀音造型就成為本章論述的重點,這也是本文的重點部分之一。本章著重詳述東南亞各國不同風格的觀音
[Abstract]:In the late stage of the South Carolina, the South-East Asian style of the Astro-Guanyin is the one of the most respected in the South China and the Dali State, and for the South Korean nation which has been affected by the Central Plains culture in many respects, in the case of the South Korean nation which is deeply affected by the Central Plains culture in many respects, the Aguyanyin Guanyin is the main reason for the replacement of the Guanyin Guanyin in the Han place, and there must be a reason, What is the significance and function of the appearance of Aoyueguanyin to the South China, and how does she act in the interaction of the South China and the Tang Dynasty? What's the impact? The purpose of this paper is to analyze the relationship between the South China and the Central Plains and the Tang Dynasty and the historical role and significance of the Buddha Guanyin in the Central Plains through the study of the source of the holy image of the Guanyin Guanyin. She is the symbol of the consciousness of the king of the South and the spirit of the national consciousness! The full text is divided into Chapter I: Chapter I For the introduction, first, the purpose and significance of writing in this paper are described in detail. Because of the unique shape and the strong local characteristic belief of the Aoyuoye view, it is of great concern to both Chinese and foreign scholars for a long time, especially for them The source of shape, despite the multi-party research, has not yet been decided yet. The source and the role and significance of the South Carolina are discussed in-depth. In addition, the present status of the study of the Guanyin Guanyin is reviewed and reviewed in this paper. The study of any academic study is based on respect and absorption of the former research. The research of the Guanyin Guanyin is a great inspiration to us. As a clue, we can make a clear study of the direction of the study. Finally, on the basis of full knowledge of the historical documents and data, we apply the methods of image, sociology, comparison and so on. The second chapter is to make a thorough study of the shape and belief of the Guanyin Guanyin. The second chapter is a review of the origin of the legend of the temple in the Dali area. In the same period, the images of the Han and Tibetan Buddhism in the Tang and Song Dynasties are compared with the images in the period of the same period, that is, the Tang and Song Dynasties. The style and style of the Akiya's Guanyin are completely different from that of the two places. The source. According to the previous study, the look-and-the-look of the Arachian Guanyin is likely to come from South-East Asia. Are the facts so, In the third chapter, the source of Buddhism and Buddhist art in South-East Asia is in India and does not know the style and style of Guanyin in India. It is possible to have an in-depth understanding of the style and style of the Guanyin in South-East Asia, and it is not possible to define the true source of the shape of the Guanyin Guanyin. Therefore, this chapter discusses the belief of the Guanyin and the style of the Guanyin in India, and points out the different styles of Guanyin and the wind from India. It has a great impact on the Southeast Asia, China, Central Asia and other regions, especially the most profound and long-term impact on the Southeast Asia. South Asia is the most powerful region in India, and in terms of politics, culture, religion, etc. The influence of the Indian civilization, especially the Buddhism and its art, is the most obvious. However, it is impossible to have the existence of Buddhist art without the introduction of Buddhism. In this chapter, we first discuss the Buddhism in Southeast Asia. The situation of communication and development, in particular the belief and dissemination of the Guanyin, and the emphasis on Buddhism The prosperity and development greatly stimulated the flourishing of the Buddhist art, and the development of the Buddhist art further promoted the wide spread of the Buddhism, and the two complement each other. The style and style of Yanyin. The 7-13 th century is the heyday of the Southeast Asian Buddhism, especially the Great Chinese Buddhism and the secret development, and the prevailing view in Southeast Asia. The sound of the sound is clearly reflected in this point.
【學位授予單位】：南京藝術學院
【學位級別】：博士
【學位授予年份】：2005
【分類號】：K879.4;J110.9

【引證文獻】

相關碩士學位論文 前1條

1 馬麗云;佛王與本主：南詔國王造像研究[D];中央民族大學;2010年

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本文編號：2452286