藏传佛教构建的共生空间—坛城（曼荼罗）艺术的表现形式研究

发布时间：2017-12-28 17:16

本文关键词：藏传佛教构建的共生空间—坛城（曼荼罗）艺术的表现形式研究　出处：《南昌大学》2016年硕士论文　论文类型：学位论文

【摘要】：坛城(曼荼罗)是一个古老的不同文化的民族中都可以找到原型的表现形式,从瑞士精神学家荣格的理论方面出发来看,坛城(曼荼罗)是人类集体潜意识的产物,古老的曼荼罗图像在旧石器时代就已经产生。共生的核心思想是源于对东方哲学“唯识”思想的延伸,无论是大成佛教的“空”、中国道教的“道”还是印度哲学的非二元论等不同的思想,最终的落脚点都关注与现当代的“共生”。现代物理学在不断的发展更新当中,有一个明确的基本观点:世界是一个整体。藏传佛教的观点则是:每一个存在物都包含着宇宙。而所谓的坛城艺术,实际上是一个微观的世界,是佛教的混元宇宙观、世界观和佛家理想世界的具象模式。20世纪80年代末,著名的日本建筑师和建筑理论家黑川纪章提出了共生思想,并作为其建筑设计的核心理论得以实践。“共生”原本是生态学的概念,在生态学的领域体现为“共栖”。印度哲学的“绝对不二论”、吠檀多学派的思想、龙树的唯识思想,以及大乘佛教中“空”的概念等东方哲理,都是“共生理论”的原点。共生思想的重点来自东方哲学“唯识”,唯识思想是超越现代主义和二元论的共生思想的圣经,而佛教则是彻底摒弃二元论的观念,认为宇宙中万事万物都相互依赖,处于永恒的变化之中,坛城绘画的圆形构图非常清晰地阐述了这个观念。因此,从哲学角度来看,用“共生空间”观念来理解坛城艺术是非常合理的一种思路。本文以藏传佛教的艺术发展为背景,站在共生思想的角度剖析坛城艺术的图式,尝试结合新共生思想、藏传佛教艺术史、图式美学等艺术形式分析坛城图式的审美特色,观察和探讨曼荼罗图式中的隐喻的共生空间。研究视角定在由曼荼罗(坛城)这个艺术形式中所呈现的佛教“缘起”以及东方哲理中“共生思想”在哲学上的一种共鸣的体现。从共生思想这个视角去探寻在曼荼罗艺术中图案、构图、色彩等各方面所呈现的共生理念的部分,以及对本人艺术创作的启发与关联。
[Abstract]:Mandala (Mandala) is one of the ancient peoples of different cultures can be found in form of prototype, starting from the Swiss psychiatrist Carl Jung theory perspective, Mandala (Mandala) is a product of human collective unconscious, the images of the ancient in the Paleolithic has already been produced. The core idea of symbiosis is derived from the extension of the Oriental philosophy "consciousness" thought, whether it is a Buddhist "empty", China "Tao" or India philosophy of non dualism of different ideas, the ultimate goal is concerned with the contemporary "symbiosis". In the course of the continuous development and renewal of modern physics, there is a clear basic view that the world is a whole. The view of Tibetan Buddhism is that every existence contains the universe. The so-called Mandala art, is actually a microscopic world, Buddhist cosmology, figurative Hunyuan pattern of world outlook and the Buddhist ideal world. In the late 1980s, Kurokawa, a famous Japanese architect and architectural theorist, proposed the idea of symbiosis and practiced it as the core theory of its architectural design. "Symbiosis" is the original ecology concept in ecology field is the embodiment of "symbiosis". India's "absolute philosophy of Advaita Vedanta," School of thought, Nagarjuna's consciousness, and the Mahayana Buddhism "empty" concept of Eastern philosophy, is the "origin symbiosis theory". The key idea of symbiosis from the Eastern philosophy "consciousness", consciousness is beyond the symbiosis thought of modernism and the dualism of the Bible, and Buddhism is completely abandon the concept of dualism, that everything in the universe are interdependent, in constant change, Mandala painting very circular composition clearly describes the concept. Therefore, from a philosophical point of view, with the "common space" concept to understand the mandala art is a very reasonable approach. Based on the background of Tibetan Buddhist art development, standing in the point of view of symbiosis idea Tancheng art schema, try aesthetic features combined with the new idea of symbiosis, Tibetan Buddhist art history, aesthetics and other art forms of the mandala schema schema, observe and study the symbiosis spatial metaphor in the mandala schema. The research perspective in the mandala (a Buddhist Mandala) reflect the resonance of "origin" presents the art form and Oriental philosophy in the concept of "symbiosis" in the philosophy of. To explore the concept of symbiosis part presents the pattern, composition and color of Mandala art from the perspective of symbiosis thought, and the inspiration and relevance of my art creation.
【学位授予单位】：南昌大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：TU252

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