從敦煌佛教文獻、壁畫論佛經繪圖形式與功能之發展

NHUIR > College of Humanities > Department of Literature > NSTC Project > Item 987654321/24705

Please use this identifier to cite or link to this item: http://nhuir.nhu.edu.tw/handle/987654321/24705

Title:	從敦煌佛教文獻、壁畫論佛經繪圖形式與功能之發展
Other Titles:	The Development of the Forms and Functions of Buddhist Illustrated Scriptures: A Study of Buddhist Literature and Wall Paintings from Dunhuang
Authors:	鄭阿財
Contributors:	南華大學文學系
Keywords:	敦煌寫經;石窟壁畫;佛經繪圖;說法圖;經變圖;Dunhuang manuscripts;wall paintings;Buddhist illustrated texts;the painting of Buddhist Dharma Talk;the transformation Tableaux
Date:	2015
Issue Date:	2016-11-02 11:43:36 (UTC+8)
Abstract:	中國古代圖文之結合，素為學界所關注。20 世紀初，敦煌文獻的發現，帶給中國圖書發展史上許多珍貴的實物材料，特別是印本版畫及寫本繪圖，更是受到藝術史及文獻學等相關學者的矚目。繪圖在中國佛教的傳播與運用極為頻繁，其中，唐代弘法佈道的俗講變文，出現敘事圖像與敘事文本的結合，近年尤受學界重視。文學研究者更從敦煌壁畫、絹畫、帶圖寫卷等材料以探究變相與變文之關係，並論述話本中插圖的淵源。事實上，佛教全盛時期的唐代，石窟壁畫風行，不論是佛說法圖或大型經變圖，既起到莊嚴道場之功能，又發揮佛教經典圖解輔教傳播之作用。唐以後傳世的佛經不論是寫本或刻本，藏經或單經，每每於扉頁繪製或版刻有佛說法圖，其內容或為釋迦牟尼說法，或為阿彌陀佛、彌勒佛說法，其形式有一佛二菩薩，或一佛二弟子二菩薩外，更有七處九會，或諸佛海會之場面。不但如此，有些佛經圖繪也與石窟壁畫同樣有榜題的出現，足見二者關係極為密切。唯學界對此罕有全面而深入的研究。本計畫有鑒於此，特擬廣蒐敦煌石窟壁畫中的佛說法圖、經變圖以及石窟所出的絹畫、紙本等經變畫，結合敦煌文獻中附圖的寫本及刻本經卷，分別從形式、內容進行分析，對同一文本內容的圖繪進行微觀的解讀與析論，並對照壁畫與經卷佛畫的榜題，以宏觀的視角展開功能與形式發展演變之探討。冀望能提供考察中國佛經繪圖淵源流別及其影響之參考。 Recently contemporary scholarship has paid more attention to the interconnections between illustrations andtexts in traditional China. In early 20th century, with the discovery of Dunhuang documents, numerous materials have provided very rich sources for our understanding of Chinese book culture. In particular, the printed and handwrittenmanuscripts and illustrations are crucial and attracted scholars who work on art history and texts. Illustrations were frequently used in the spread of Chinese Buddhism. In the Tang era, the popular narrativesand transformation texts, for their use of illustrations in narrative texts, are even more noteworthy. Literature scholarshave studied wall paintings, silk paintings, and illustrated manuscripts for examining the relationship betweentransformation tableaux and transformation texts, as well as the origins of the illustrations with the narrative texts. In the Tang period, since Buddhism was flourishing, the making of Buddhist caves and wall paintings became so popular. The paintings of dharma talks and transformation tableaux not only served as the ornament of ritual space, but also supplemented the texts for spreading Buddhist dharma. After the Tang dynasty, the Buddhist texts, eithermanuscripts or printed texts, either canonical texts or miscellaneous texts, usually had illustrations of dharma talksappearing on the title pages. These illustrations either have the scene of the Buddha’s dharma talk, or the Amitabha Buddha or Maitreya Buddha’s dharma talk. The illustrations often have one Buddha two Bodhisattvas or one Buddha with two disciples and two Bodhisattvas. Sometimes, they described the Buddhist assemblies. Usually they also have title labels. All of these are worth further investigation. This project will gather all materials including those transformation tableaux, silk paintings and paper painting,as well as manuscripts and printed texts with illustrations from Dunhuang, analyzing their forms, contents, and functions, conducting a close reading of texts, and in combining multiple approaches, for examining the historical development of these illustrations. It aims to shed new light on the origins of Chinese Buddhist illustrations and their relationship to manuscripts.
Appears in Collections:	[Department of Literature] NSTC Project

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