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发布时间：2018-02-28 17:21

  本文关键词： 初说法 古印度 法轮 佛传故事　出处：《华东师范大学》2017年博士论文　论文类型：学位论文

【摘要】："初说法"是佛陀生平事迹中的一个组成部分,对于整个佛教而言,"初说法"的发生代表着佛、法、僧三者的联结,三宝俱足,佛教成为宗教的开始。"初说法"的故事通俗且具有重要意义,从古印度至中亚、南亚,乃至整个佛教艺术中都有表现。本篇论文围绕以"初说法"佛传故事的文本与图像为主要内容,并对相关图像中变化的各个要素如闻法听众、说法印与释迦"初说法"到"说法"主尊变化的问题详细探讨。结合两次实地考察印度与多次考察国内各大石窟获得了大量的一手资料,同时对比国内外相关研究成果,力图建构"初说法"题材的造像系统。首先,梳理各种佛典经本中"初说法"故事,并对故事所涉及的人物如梵天、五比丘、外道以及重要的组成部分鹿野苑、轮宝、"法"等展开讨论,分析经本之间的差异性与图像艺术间的互文性,同时确立"初说法"图像的主要构成要素,且对各经典中的"初说法"故事的记载与"五比丘"的确切姓名有所探讨。其次,详细讨论中印相关美术遗存的"初说法"图像。"初说法"图像主要分为无佛像时期象征物时代与佛陀形象出现以后的贵霜、笈多时期及以后的相关造像。早期雕刻虽未出现佛陀形象,但以法轮或者法轮柱的图案来代替。主要包括桑奇三塔、巴尔胡特佛塔、阿玛拉瓦蒂艺术流派的艺术作品与早期石窟寺的雕刻,以及较新的考古材料康纳冈娜哈里(Kanganhallii)佛教遗址中的有关图像;佛陀的人形形象出现以后,本文主要梳理犍陀罗艺术、秣菟罗艺术、阿玛拉瓦蒂艺术、后期石窟寺艺术表现"五比丘会见"、"鹿野苑说法"等主题的图像脉络。并分析讨论中国的"初说法"图像,涉及各大佛教石窟、造像碑等。再次,通过佛教艺术造像"初说法"图像中的法轮、双鹿的形式、侍从人物配置与主尊手印的变化,从而探讨相关主尊的身份、造像意图等问题并将此图像主题背后的佛教思想的变化进行解读。探讨初说法"的图像中闻法听众从早期的礼拜者发展到比丘,再到胁侍菩萨的出现,手势从最开始遵从经本的"触摸法轮"到无畏印、说法印的变化。同时比较分析犍陀罗式说法印与萨尔那特样式说法印的特点、说法手印的样式演变,整体对说法印的产生进行梳理。中国的"初说法"图像则从新疆云冈石窟中早期的盛大场景到敦煌晚唐五代宋的法华经变中的简单的附属,已经不是传统意义的度五比丘,宣传法理的意义,而是展现了佛教中的小乘"罗汉果位"到大乘思想"上证菩提"转变。最后,通过东西往来的求法僧与使者的文献记载,以及相关的东南亚流传"初说法"像与中巴边境的"初说法"岩画等图像,力图探寻中印佛教之间的传播路线。同时,对鹿野苑瑞像图与鹿野苑初说法之间的差异进行分析。
[Abstract]:The "initial statement" is an integral part of the life story of the Buddha. For the whole of Buddhism, the occurrence of the "initial saying" represents the link among the Buddha, the Dharma and the monk, and the three treasures are all sufficient. Buddhism became the beginning of religion. The story of "the first story" is popular and significant, from ancient India to Central Asia, South Asia, This paper focuses on the texts and images of the stories of the "initial stories", and focuses on the changing elements of the related images, such as listening to the Dharma listeners. The issue of the change of the theme between the original version of Sakya and the original version of Sakya has been discussed in detail. In combination with two field visits to India and several visits to various major caves in the country, a large amount of first-hand information has been obtained, while the relevant research results at home and abroad have been compared. First of all, to sort out the stories of the original stories in various Buddhist scriptures, and to analyze the characters involved in the stories, such as Brahma, five bhikkhus, the outer Tao, and the important part of Luye Garden. In this paper, the author discusses the differences between the original text and the intertextuality of the image art, and establishes the main elements of the "initial explanation" image. It also discusses the record of the story of "initial explanation" and the exact name of "five bhikchu" in each classic. Secondly, Discuss in detail the "initial statement" image of the art remains of China and India. The "initial statement" image is mainly divided into the era of symbol in the period without Buddha and the precious frost after the appearance of the image of Buddha. Gupta period and later related statues. Although there was no Buddha image in the early sculptures, they were replaced by the patterns of Falun or Falun columns. They mainly included the Sanchez Pagoda, the Balhut Pagoda, The works of art of the Amarawati school of art and the carving of the early grotto temple, as well as the related images in the relatively new archaeological material, Kanganhallii) Buddhist ruins; after the appearance of the figure image of the Buddha, this article mainly combs Gandhara art. Haythula art, Amarawati art, later grotto temple art performance "five bhikhu meeting", "Luye Yuan theory" and other themes of the image context. And analysis of the discussion of China's "initial story" images, involving the major Buddhist grottoes, Again, through the changes in the Falun, Shuanglu's form, the configuration of the attendants and the handprints of the Master, the identity of the related Master is discussed through the Buddhist artistic statue of the "initial statement" image of Falun, the form of the Shuanglu, and the changes in the figure configuration of the attendant and the handprint of the Master. Interpreting the changes in Buddhist thought behind the theme of this image. The discussion of the original saying in the image of the listener from the early worshipers to the bhikkhu, then to the emergence of the Bodhisattva. The gesture changes from "touching the Falun" to "fearless Seal". At the same time, it makes a comparative analysis of the characteristics of the Gandhara and Sarnat style, and the evolution of the style of the handprint. From the grand scene in the early stage of Yungang Grottoes in Xinjiang to the simple attachment to the changes in the Fa Hua Classic of the late Tang and the five Song dynasties in Dunhuang, it is no longer the traditional sense of the five bhikkhs. The significance of propagandizing the doctrine of law is that it shows the transformation of the Mahayana's thought of "Luohanguo" to the Mahayana thought of "Shangqian Bodhi". Finally, the literature records of Buddhist monks and messengers who seek the dharma and emissary through the exchange of things and things. And related images such as the "initial statement" and the "initial statement" rock painting along the border between China and Pakistan are circulated in Southeast Asia in an attempt to explore the communication route between the Buddhism of China and India. At the same time, the differences between the figure of Luye Garden and the original version of Luye Garden are analyzed.
【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】：B949;K86
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本文编号：1548256