中原北方地区唐代佛教主尊像研究

发布时间：2018-01-15 22:32

本文关键词：中原北方地区唐代佛教主尊像研究　出处：《西安美术学院》2012年博士论文　论文类型：学位论文

更多相关文章： 主尊像 降魔坐式 贞观样式 阿弥陀

【摘要】：佛教自东汉末年初传我国到唐代，主尊像从信仰主题到造像形式都发生了很大的变化，本文旨在对唐代佛教主尊像，特别是阿弥陀如来造像做出佛教图像学、美术史学上的探讨和研究。主尊像，顾名思义是佛教信仰的中心，主要被安置在石窟寺或寺院的中心供人们顶礼膜拜。主尊像按题材分主要有释迦牟尼说法像、释迦多宝并坐说法像、弥勒佛、卢舍那佛、阿弥陀佛等，按照造像样式分有结跏趺坐像、半跏趺坐像立像、倚坐像等等。主尊像可以是独尊也可以是多身组合，如释迦多宝并坐说法像、三世佛造像、七佛药师如来像等等。本文以贞观为中心兼及初唐、以开元为中心兼及盛唐两个时期，地域范围以唐代国都长安及洛阳为中心，包括甘肃、陕西、山西、河南等北方各省。文中对中原北方地区的石窟寺，以及国内外各博物馆中收藏的主尊像为降魔坐式，右手作施无畏印，左手伏掌于左膝之上的主尊造像，即“贞观样式”的造像给予了特别关注。对制作这些造像的地域、时代、造型特征做出了梳理，同时在同一石窟内作纵向的美术史学上的分析，在不同石窟间作横向的宗教图像学上的比较，阐明这一造像样式在初唐时代的发生及对其后各时代的影响、变化。在具体研究中，本文主要以石窟考古学研究中得出的各石窟寺的年代学报告，以及各石窟中现存的造像年记为主线，对中原北方石窟中的同类造像作网点式的研究。同时关注典型主尊像的胁侍诸尊以及与主尊有密切关联的壁画，力求对主尊像做出客观的符合历史真相的研究结果。研究结果表明，唐代的国都长安不但是政治、经济、文化的中心地，同时也是佛教信仰的中心地。作为贞观样式造像，，它初起于贞观初年，流行在高宗武周治世期间，烂熟于开元时代，流行在以长安为中心的中原北方广大地域。
[Abstract]:From the beginning of the Eastern Han Dynasty to the Tang Dynasty, great changes have taken place in the theme of the main statue and the form of the statue. The purpose of this paper is to make Buddhist imageology on the Buddhist statue of the Tang Dynasty, especially the statue of Amitabha. The exploration and research of art history. As the name implies, it is the center of the Buddhist faith and is mainly placed in the center of the grottoes or monasteries for people to worship. According to the theme, the main idols are Sakyamuni, Sakyamuni and Sakyamuni. Maitreya Buddha, Lucerna Buddha, Amitabha Buddha, etc., according to the figurines, there are leggings, half leggings, reclining statues, etc. The main figure can be single or multi-body combination. Such as Sakya many treasure and sit to say the statue, the third Buddha statue, seven Buddha pharmacist statue and so on. This article takes the Zhenguan as the center and the early Tang Dynasty, takes the Kaiyuan as the center and the prosperous Tang Dynasty and so on. The region is centered on Changan and Luoyang, the capital of the Tang Dynasty, including Gansu, Shaanxi, Shanxi, Henan and other northern provinces. As well as the collection of the main statue in the museums at home and abroad for the defiant sitting, the right hand for fearless imprint, left hand on the left knee on the palm of the statue of the Lord. That is, "Zhenguan style" of the statue to give special attention to the making of these statues of the region, time, modeling features to make a comb, at the same time in the same grotto longitudinal analysis of the history of art. Through the comparison of different intercropped religious imageology, this paper expounds the occurrence of this image in the early Tang Dynasty and its influence on the later times. This paper mainly takes the chronological report of the grottoes' temples obtained from the study of grottoes archaeology as the main line, as well as the yearbook of the existing statues in the grottoes. This paper studies the similar statues in the North Grottoes of Central Plains, and pays close attention to the vassals of the typical statues and the murals closely related to them. Strive to make objective and consistent with the historical truth of the main statue research results. The results show that Changan, the capital of Tang Dynasty, is not only the center of politics, economy and culture, but also the center of Buddhist belief. It was popular in the period of Gao Zongwu's reign in Zhou Dynasty, in Kaiyuan period, and in the northern part of Central Plains with Changan as the center.
【学位授予单位】：西安美术学院
【学位级别】：博士
【学位授予年份】：2012
【分类号】：K879.3;K242

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