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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/72526

    Title: 古傳日本之中國涅槃圖研究;The Study of Chinese Nirvana Paintings Transported to Japan
    Authors: 林笛;Di,Lin
    Contributors: 藝術學研究所
    Keywords: 傳日涅槃圖;圖像變化;絹本佛畫;古傳;日本收藏
    Date: 2016-07-18
    Issue Date: 2016-10-13 15:26:44 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 涅槃圖泛指釋迦牟尼佛肉身死亡,擺脫輪迴入滅的佛教圖像,多塑造躺臥的釋迦姿態及見證涅槃的眾生群像,屬於佛傳故事畫的範疇。涅槃圖的圖像問題與其在美術史上的流傳與變化有直接的關係,該圖像在佛傳圖的基本框架內,曾演變出不同的區域性和階段性特質,涅槃所象徵的「生死」意涵也隨之豐富化。

    ;Nirvana paintings generally refer to the images that depict the death of the Buddha Shakyamuni. In this type of paintings, Shakyamuni lies on a dais or a bier, and is surrounded by numbers of deities, disciples, and animals. Death releases the Buddha from the cycles of rebirth, and makes him enter the realm of nirvana. The scene of his death is part of the narrative paintings of Shakyamuni’s life.

    This thesis analyzes several cases of Chinese nirvana paintings on silk or paper transported to Japan in ancient times, including the works from the Southern Song Dynasty to those from the Qing Dynasty. Although scholars have discussed these paintings individually, the whole picture of the development remains unclear. The main concern of the author is the transformation of the pictorial presentations of the Nirvana paintings in history. The reasons for the various appearance of the images are complicated, including regional differences and periodical trends.

    This thesis will first focus on a group of paintings made in the Song and the Yuan Dynasties. These include the Nirvana of the Buddha by Lu Xinzhong, the Nirvana of the Buddha in the possession of Nakanoboji Temple in Aichi Prefecture, and the Nirvana of the Buddha in Kyoto Chofukuji Temple. They share some similar characteristics from the eastern Zhejiang coast area, but also show varieties.

    The other major part of this thesis mainly probes into four important nirvana paintings from the Ming and the Qing Dynasties, including Nirvana of the Buddha formerly attributed to Wu Bin, Nirvana of the Buddha by Sun Yi, as well as two anonymous paintings, one in the Shofuku-ji Temple and the other in the Shuntoku-ji Temple of the Nagasaki Prefecture. These paintings show radical transformation and deviate from the tradition. They enrich the nirvana scenes with elements from Confucianism, Buddhism, and Taoism and reflect the new expectations of the believers.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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