米拉日巴唐卡图像与《米拉日巴传》文本比较分析

发布时间：2018-05-28 06:57

本文选题：米拉日巴 + 米拉日巴传　；参考：《首都师范大学》2014年硕士论文

【摘要】：米拉日巴是11世纪藏传佛教噶举派的第二代祖师,以苦修著称的大瑜伽士,即生成佛。他早年奉母命为家人报仇造下黑业,后生起懊悔之心遂去求佛法,经过玛尔巴的各种严酷的考验,终于成为他的弟子,得到了他的心传教法,而后在山中苦修,即生成佛。他的一生成为了藏传佛教信徒的榜样,影响深远。米拉日巴尊者的传记故事是西藏最为精彩的传记故事。15世纪藏宁赫鲁迦·乳毕坚金所著《米拉日巴传》是现存最为完整、流传最为广泛、影响最深的传记。此传记全称《显示解脱和成佛道路瑜伽自在大士米拉日巴尊者传》。本文将依托藏宁·赫鲁迦所著、刘立千翻译的《米拉日巴传》对搜集到的现存最早的米拉日巴传记唐卡内容进行识别,同时比对文本与传记唐卡的异同,论证此传记唐卡是否根据传记内容而绘,考证其年代是否早于传记,从而证明藏人喜用图像叙事的特点。本文也将对其他年代的米拉日巴传记唐卡与传记进行比对,分析米拉日巴传记唐卡的形成与内容变化。本文由绪论、主体和皆与三部分组成。主体分为三章。第一章对米拉日巴的生平故事进行阐述,并对《米拉日巴传》的版本有所论述。第二章对米拉日巴传记唐卡出现的背景进行论述,并将现存最早的米拉日巴传记唐卡与传记进行比对,分析二者之间的差异。小结部分提出了此唐卡与传记所及内容并不相符,因此此唐卡早于《米拉日巴传》的结论第三章分析了其他米拉日巴传记唐卡所绘内容,并将之与传记相比对,论证米拉日巴传记唐卡的内容变化。结语部分提出现存最早的米拉日巴传记唐卡的故事情节并非完全依托《米拉日巴传》。藏人喜用图像叙事,《米拉日巴传记》出现以后,影响深远且广泛。米拉日巴传记唐卡的绘制通常依托《米拉日巴传》,但也有画工自己的创造。不同时代的米拉日巴传记唐卡所选取的情节亦有异同。
[Abstract]:Mirazhba is the 11 th century Tibetan Buddhism Kagyu the second generation of ancestors, known as the great ascetic Yogis, that is, the creation of Buddha. In his early years, he was ordered by his mother to avenge his family's evil karma. Later, he began to beg for the Dharma with remorse. After all the ordeal of Marba, he finally became his disciple, got his heart preaching method, and then practiced in the mountains, that is to say, the Buddha. His life has become an example of Tibetan Buddhist followers, far-reaching impact. The Biography of the Venerable of Mirazhba is the most wonderful biography in Tibet. The biography of Mirazhba by Ru Ruga Breakenkin in the 15th century is the most complete, widely circulated and most influential biography in Tibet. The full title of this biography shows the way to extricate and become Buddha Yoga Yoga Venerable Venerable Myrachiba. This article will rely on Zhanning Heruga, Liu Liqian translated "Mirazhba Biography" to collect the earliest existing Mirazhba biography Tangka content to identify, while comparing the text with the Biographical Tangka similarities and differences. To prove whether this biography is drawn according to the content of the biography, and whether it is dated earlier than the biography, so as to prove that Tibetans prefer to use image narration. This paper also compares Mirazhba's biography of Tangka with that of other ages, and analyzes the formation and content change of Mirazhba's biography. This paper consists of three parts: introduction, subject and all. The main body is divided into three chapters. The first chapter expounds the life story of Mirazhba and the version of Mirazhba. The second chapter discusses the background of Mirazhba biography Tangka and compares the earliest Mirazhba biography Tangka with biographies to analyze the difference between them. The summary points out that this Tangka does not match the content of the biography, so this Tangka predates the conclusion of the Biography of Mirazhba. The third chapter analyzes the contents of other Mirazhba biographies, and compares them with biographies to demonstrate the changes of Mirazhba biographies. The conclusion points out that the storyline of the earliest biography of Mirazhba, Tangka, is not entirely dependent on the Biography of Mirazhba. Tibetans like to use image narration, after the appearance of Mirazhba biography, the influence is far-reaching and extensive. The drawing of Mirazhba's biography of Tangka is usually based on the Biography of Mirazhba, but there are also painters of their own creation. Mirazhba biography of different times Tangka selected the plot has similarities and differences.
【学位授予单位】：首都师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：B94;J205

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