中韩水陆画比较研究

发布时间：2018-03-02 10:32

本文关键词： 水陆法会水陆画甘露帧形制图像　出处：《南京艺术学院》2013年博士论文　论文类型：学位论文

【摘要】：佛教第一次传入到中原汉地是在东汉初年,从印度或西域来的僧侣为了传播佛教,利用当时汉地流行的黄老思想、方术等,并且融合了佛教所排斥的印度婆罗门教或者其它原始宗教所使用的咒语。当时的人们接受佛教,把其当作求福或挡灾的手段,与黄老并存。至东汉末年,佛教逐渐开始影响到社会各个阶层。南北朝时期,萧梁武帝首次举行水陆法会。水陆法会所使用的佛画称为水陆画,通常在修设法会时挂在法堂,或是以壁画形式绘于寺庙内的水陆殿。在韩国的水陆法会中使用的佛画称为甘露帧。中国现存水陆画的形式有卷轴水陆画、水陆壁画、水陆版画等。在中国,佛教活动往往得到政府支持,并且佛教信仰也是社会宗教信仰的主流,在民间广为流行,可以得到来自官方和民间的财力支持,在这样的背景下,有着大量的佛事活动,以至于出现将水陆画内容固定下来方便修设水陆法会仪式的水陆堂,将水陆画绘制到法堂墙壁之上,得以保存至今。甘露帧画从朝鲜时代中期以后开始出现,在荐度亡魂的四十九斋、水陆斋、豫修斋、盂兰盆斋等法会中使用,为修斋仪式上用的佛画。韩国寺庙的法堂内结构分成上段、中段、下段,又分为正面、左右,其中甘露帧画为置于下端的佛画,它与供奉佛、菩萨的普通佛画不一样,描绘了荐度对象的老百姓生活。甘露帧的构图整体上分为三段,画面上半部分描绘各色的佛、菩萨像；中间部分有僧侣给饿鬼举办施食仪式、作法等；最下部分有荐度对象的六道众生场景。中韩水陆画一脉相承,尽管是从中国传入韩国,但是由于政治、社会、人文、风俗、经济等方面的影响,使得韩国甘露帧在形制、样式、内容、风格上与中国水陆画既有联系又有区别。
[Abstract]:Buddhism was first introduced to the Central Plains in the early years of the Eastern Han Dynasty. In order to spread Buddhism, monks from India or the Western regions made use of the Huang Lao thought and Fang Shu, which were popular in the Han Dynasty at that time. And combined with the mantra of the Hindu Brahmins or other primitive religions rejected by Buddhism. At that time, people accepted Buddhism as a means of seeking blessing or preventing disasters, coexisting with Huang Lao. Until the end of the Eastern Han Dynasty, Buddhism gradually began to affect all social strata. During the Northern and Southern dynasties, Emperor Xiao Liang Wu held the first Land and Water Law Society. The Buddha paintings used by the Land and Water Law Society are called water and land paintings, and are usually hung in the Dharma during meditation. Or in the form of murals painted in the temple's land and water halls. The Buddha paintings used in the South Korean Water and Land Law Society are called mannose frames. The existing forms of Chinese waterfront paintings include scroll paintings, water and land murals, land and water prints, and so on. In China, Buddhist activities are often supported by the government, and Buddhist beliefs are also the mainstream of social religious beliefs. They are popular among the people and can receive financial support from both the government and the people. In this context, there are a large number of Buddhist activities. So much so that there is a water and land hall where the contents of the water and land paintings can be fixed to facilitate the ceremony of the water and land laws, and the water and land paintings are painted on the walls of the church, which has been preserved until now. The mannose frame paintings began to appear after the middle period of the Korean era. Used in the 49 Zhai, Suilu Zhai, Yuxiu Zhai, Yonlan Pang Zhai, etc. The Buddhist paintings used in the ritual of practicing Zhai are divided into the upper section, the middle section, and the lower section of the Buddhist temple in South Korea, which are also divided into the front, the left and the right. Among them, the manlu frame painting is a Buddha painting placed at the lower end, which is different from the ordinary Buddha painting of Buddha worship and Bodhisattva. The composition of the manlu frame is divided into three sections as a whole, and the half part of the picture depicts the Buddha and bodhisattva statues of various colors; In the middle there are monks holding food giving ceremonies and practices to hungry ghosts; at the bottom there are six scenes of sentient beings with recommended objects. Chinese and South Korean waterfront paintings are of the same lineage, although they were introduced from China to South Korea, but because of politics, society, humanities, and customs, The influence of economy makes Korean mannose frame have relation and difference with Chinese waterfront painting in shape, style, content and style.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J205

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