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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。

    本論文檢討了一批古傳日本之中國涅槃圖絹、紙本,主要經由對日本收藏的南宋至清代涅槃圖進行具體分析,歸納了傳日涅槃圖的階段性特徵。儘管學界對這批繪畫做過個例研究,但作品之間始終略顯分散和孤立,尚未有較為清晰的整體樣貌。鑒此,通過釐清傳日涅槃圖具有的殊相與共相,得以挖掘圖像蘊藏的階段性共同點和其歷史發展趨勢。其中,出自宋元時代(960-1368年)者,以南宋陸信忠筆《佛涅槃圖》、愛知縣中之坊寺藏《涅槃圖》及京都長福寺藏《涅槃圖》為例,探討了宋元浙東沿海地區佛畫的特點及圖像脈絡,尋找中國涅槃圖變化的淵源。而明代(1368-1644年)、清代(1644-1912年)的傳日涅槃圖,則是本論文的討論重點。結合傳明末吳彬筆《涅槃圖》、清代孫億筆《涅槃圖》、長崎聖福寺與春德寺各收藏的《涅槃圖》共四幅指出,這批十七世紀左右的傳日明清涅槃圖,回應了當時的佛教發展和庶民信仰訴求,在傳統的圖像基礎上變得更為脫逸和多元,增添了許多有別於古典涅槃圖像的儒、釋、道元素,衍生出更多貼近信眾和普世價值的涅槃意涵。
    ;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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