克孜尔石窟佛传故事图像研究

发布时间：2018-05-09 11:07

本文选题：佛传图像 + 克孜尔石窟　；参考：《华东师范大学》2017年博士论文

【摘要】：佛传故事是佛教三大故事之一,也是古代龟兹佛教艺术表现的主要题材。因佛传故事与佛学思想的互证性,艺术风格与文化传播的关联性,题材偏好与本土化的复杂性,吸引了较多学者对龟兹佛教艺术的关注。克孜尔石窟作为龟兹佛教遗址中保存最好、规模最大的石窟群,其佛传故事题材数量堪称国内之最。目前,针对克孜尔石窟佛传题材研究的论著颇多,不乏有咳唾成珠的大家之作,文章多以克孜尔石窟中的代表性佛传图像为线索,阐述古代龟兹石窟的营建年代与佛学思潮。但在克孜尔壁画"西域风格"的内涵研究方面裹足不前,对克孜尔石窟艺术源流的分析,过于强调犍陀罗佛教艺术的影响度。以上两点都忽略了本土文化的主体性,以及古代龟兹对中印度艺术风格兼收并蓄的主观因素。本文以克孜尔、印度实地考察资料为基础,以相关犍陀罗出版文献为参照,对部分重点题材进行梳理与比对,包括佛传艺术的题材组合、序列逻辑、主题思想的宏观构架,和人物造型、情节演进等微观流变两个方面,试论克孜尔佛传艺术中人物神格化塑造的成因。并以此为主线,重新审视影响克孜尔石窟佛传艺术形成的外缘与内因,如从犍陀罗对克孜尔佛传图像序列、右旋观图影响的深度,中南印度艺术对克孜尔佛传人物三姿造型影响的广度,以及波斯文明在克孜尔石窟艺术中的介入身份等方面,提出新的观点和研究视角。具体呈现在文章的三个环节中:第一环节为基础梳理。首先是克孜尔佛传题材的重新统计。近年来克孜尔佛传图像研究的成果虽层见叠出,但较为零散,在题材总数、图像定名和窟位描述上各执一词,造成统计混乱和个别图像的窟位错误。文中对上述问题进行文献比对和图文互证,将克孜尔石窟繁多的佛传题材分为五个阶段,进行图像志梳理。文中对释迦各个阶段的佛传图像,进行提要概括和侧重点描述,对前期克孜尔佛传题材成果的统计增补了 22个情节,主要从题材遗漏、情节拆分、图像辨识三个方面,说明增补故事题材来源,希望对学界克孜尔佛传图像的后续研究,起到推进作用。其次应用田野调查、艺术风格学的相关方法论,对克孜尔佛传故事中的传记故事与因缘说法、题材与窟位、内容与构图、中心柱窟佛传图与方形窟佛传图等五组关联体进行分类统计,从而以克孜尔石窟的营建法式为构架,分析佛传故事图像在不同石窟空间中的意义与作用,并依据统计结果对中心柱窟佛传题材的艺术营造作出客观称述。本环节多以图表统计、三维图示为主,文法虽有枯燥,却是后文论证根基。第二环节为人物神格化造像的起源分析。研究基于对克孜尔佛传故事图像"人物神格化造像"区别于龟兹以西的犍陀罗、以南的印度和以东地区的世俗化造像特征。文中运用图像学的研究方法,从早期佛教艺术象征物的符号表现,奇迹中的佛陀造像和佛塔崇拜中的法身信仰几个方面,分析大小乘佛学思想下的法身信仰的表现方式,并以此为理论支点,探讨克孜尔石窟佛传人物角色差异性表现的思想来源和美学基础,以及这种神学表现思想在克孜尔石窟中,向佛国世界的图像化和反面人物的妖魔化等艺术领域的蔓延。第三环节为克孜尔佛传图像的多元文化解析。运用艺术风格学、图像学的相关研究方法,对克孜尔佛传图像中的艺术传承进行研究,范围包括影响克孜尔佛传图像形成的两个外因,即犍陀罗、中印度佛教艺术,以及弥勒本土信仰的内因。两个外因都从佛传艺术的表现形式、构图方式和人物动态的细节方面,为克孜尔石窟佛传图像提供了摹本和参照,但对图像程式化传承的同时也体现了本土的创新意识。内因方面,则从社会学的角度分析了克孜尔佛传情节中的君王思想,讨论了龟兹国王、王后的神格塑造和佛传情节中转轮王信仰之间的联系。以上三个方面的研究,是从不同角度理解克孜尔与犍陀罗、中印度佛教艺术之间的流变关系,望提出新的见解。
[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.

【学位授予单位】：华东师范大学
【学位级别】：博士
【学位授予年份】：2017
【分类号】：K879

【参考文献】