大同善化寺准提佛母图研究

发布时间：2018-04-21 18:39

本文选题：善化寺 + 大雄宝殿　；参考：《山西大学》2011年硕士论文

【摘要】：大同善化寺大雄宝殿东尽间南壁上的《准提佛母图》(现已挪至东次间南壁)首次绘制于金太宗天会年间,重绘(描摹)于清代康熙年间。通过对碑文的考证,运用考古类型学和图像分析的方法把该图与觉山寺砖塔壁画和佛宫寺释迦塔壁画进行比对,考订了壁画的绘制时代。壁画虽经清代重绘,但仍然保留了辽金之际原初图像的遗风,本文在认真考订图像的基础上,对图像的题材内容,准提佛母图像的意义和功用,以及图像产生的时代原因进行了深入的分析和探讨,由此认为这幅壁画巨制,应是辽金之际大同地区佛教各宗派争胜的过程中,在五台山华严密教思想影响下的产物。本文着重从以下几方面对《准提佛母图》进行研究：一、首先以壁画中部主尊为中心,将画分为上、下、左、右、中五部分,上部为黄道十二宫；中部为主尊准提佛母；主尊右部为观音菩萨和诸天变相；左部为与大势至相似的菩萨和诸天变相。壁画人物共有43人,包括佛、菩萨和诸天等,集中反映了准提佛母的道场情景,还体现了准提佛母与大殿中彩塑及其他佛菩萨的关系。二、对壁画的绘制年代进行考订,通过对碑文的考证和将该壁画与觉山寺砖塔和佛宫寺释迦塔两处辽金壁画图像进行比对,发现辽金壁画的很多特征,并考证了该图首次绘制于金天会年间,重绘于清代康熙年间。三、对准提佛母题材进行研究。准提佛母作为救助人道,为众生延寿护命之菩萨,以其强大的护佑功能满足了不同人们的心理需求,可以护佑上至皇亲贵族,下至庶民百姓,既可以使国家风调雨顺、经济繁荣、政治稳定,又可以令普通百姓达成所祈之愿,生活顺利,无病无灾。因此,准提佛母赢得了广泛的信仰。而各种迹象表明,《准提佛母图》应是辽金之际大同佛教信仰中华严密教思想影响下的产物。四、辽金大同佛教的兴盛有着独特的历史原因：大同作为兵家必争之地,是战争的常发地带,当地百姓过着朝不保夕的生活,面对现实他们无力改变,只能去寻求精神的依靠,而准提咒以其广阔的护佑范围和简便的道场操作得到了广大平民的接受。作为辽代陪都和金朝重镇,大同的经济对辽金两朝有着举足轻重的作用,种植业的发展为辽金军队提供了粮食供应,商业、盐业等其他行业为辽金朝廷提供了大量的财政收入,辽金皇家凭借其有力的经济保障在此大兴佛教,为辽金大同佛教的发展提供了多方面的支持,促使大同佛教更进一步的发展。由于辽道宗对华严宗的大力支持,辽代佛教中华严宗是第一大派,仅次于其后的是密宗,主要是受觉苑和道(厄殳)两位大师的影响,其次是净土宗,主要受纯慧大师的影响。金初大同佛教和辽时期基本相似,还是以华严派为首,密宗、净土也多有发展,禅宗在金代后来者居上,但大同善化寺还是主要受华严密宗的影响。该壁画场景繁复、人物众多、形态多变、色彩丰富,画中丰富的内容体现了华严密教的思想体系,反映出了辽金时期大同佛教的兴盛程度,同时折射出辽金时期大同的经济发展程度和百姓对和平的渴望,为研究历史、佛教、艺术等相关领域提供了可贵的参考资料。
[Abstract]:In the south wall of the east of the East between the East and the south wall of the east end of the temple of the Datong monastery, it was first drawn in the golden Taizong Tian Hui years, and redrawn (depicting) in the Kangxi years of the Qing Dynasty. By means of archaeological typology and image analysis, the map was painted with the murals of the brick pagoda and the Buddhist temple of the temple of the Buddhist temple. Through the comparison, the time of drawing the murals was examined. Although the fresco was redrawn by the Qing Dynasty, it still retained the relic of the original image on the occasion of the Liao and Jin Dynasties. On the basis of careful examination of the images, this paper made an in-depth analysis and Discussion on the content of the images, the significance and function of the image of the Buddha, as well as the reasons for the generation of the images. In order to achieve this mural painting, it should be the result of the influence of the Buddhist doctrine of the Mount Wutai in the process of winning the victory of the Buddhist sects in the Datong area of the Liao and Jin Dynasties.
First, in the center of the central mural master, the paintings are divided into upper, lower, left, right and middle five parts, and the upper part is the twelve palace of the ecliptic; the central part of the central respect is the mother of Buddha; the right part of the right is Avalokiteshvara and the various days; the left is the transformation of the Bodhisattva and the heavens. There are 43 people in the wall painting, including the Buddha, Bodhisattva and all the heavens. It reflects the scene of the Buddha's temple, and also reflects the relationship between Buddha's mother and the Buddha's Bodhisattva in the hall.
Two, the time of drawing of the murals was examined. Through the examination of the inscriptions and the comparison of the murals with the images of the two Liao and gold mural paintings of the Buddhist monastery and the Buddhist temple of the Buddhist temple of the Buddhist temple of the Buddha Palace temple, we found many characteristics of the murals of the Liao and Jin Dynasties, and examined the drawing of the picture for the first time in the period of the Jin Tian Hui, redrawn in the Kangxi years of the Qing Dynasty.
Three, to carry on the study of the subject of the Buddha. As the Buddha, the Buddha, as a Bodhisattva to save humanity and protect life for all the living, meets the psychological needs of different people with its powerful protection function, and can protect the Royal aristocracy and the common people, which can make the state wind rain, economic prosperity, political stability and the ordinary people. As a result, the mother of Buddha won a wide range of beliefs.
Four, there are unique historical reasons for the prosperity of the Liao and Jin Datong Buddhism. As the battlefield of the war, Datong is the frequent zone of war. The local people live a life of insecurity. Facing the reality they can not change, but they can only seek spiritual reliance, and the mantra has a broad range of protection and simple operation of the Dao field. As the accompanying capital of the Liao Dynasty and the heavy town of Jin Dynasty, the economy of Datong played an important role in the Liao and Jin two dynasties. The development of the planting industry provided the Liao Jin army with grain supply, business, salt industry and other industries provided a large amount of financial revenue for the Royal court of Liao and Jin Dynasties. For the development of the Liao and Jin Datong Buddhism, it has provided many support to promote the further development of Datong Buddhism. Due to the strong support of the Liaodao sect to China, the Chinese Yan Zong is the first major school in the Liao Dynasty, second only to the close sect, mainly the influence of two masters of the Zong Yuan and Tao (Ehu), followed by the pure land, mainly by pure wisdom. The influence of master. Jin Chu was basically similar to Buddhism and Liao Dynasty. It was led by the martial art school, the secret sect and the pure land developed more. The Zen Buddhism lived in the Late Jin Dynasty, but the temple of the great harmony was mainly influenced by the Chinese martial law.
The murals are complex, numerous, varied in shape and rich in color. The rich content of the painting embodies the ideological system of Huayan and dense education, reflects the prosperity of Buddhism in the Liao and Jin period, and reflects the economic development of Datong in the Liao and Jin Dynasties and the desire of the common people for peace, for the study of history, Buddhism, and art. A valuable reference is provided.

【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：K879.4

【参考文献】