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| 熾盛光佛繪畫作品研究 | ||
| 作者 | 沈伯丞 (撰) |
|---|---|
| 出處題名 | 史評集刊 |
| 卷期 | v.2003 n.2 |
| 出版日期 | 2003.12 |
| 頁次 | 73 - 111 |
| 出版者 | 國立台南藝術大學 |
| 出版地 | 臺南市, 臺灣 [Tainan shih, Taiwan] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 關鍵詞 | 熾盛光佛; 繪畫=painting |
| 摘要 | 熾盛光佛信仰，及其相關畫作曾在中古時代的中國，有過一段相當流行的歲月。相關畫作，其最大特點在於，畫面在空間構圖上，存在著極為明顯的差異。且此一差異隨著時代的前進，並未出現基本的變動。熾盛光佛畫作，除畫面結構的鮮明特色外，其中的諸星宿圖像，亦為中國宗教繪畫，增添新的繪畫題材。然而，隨著宗教功能的被取代，以及相關圖像融入其他宗教作品的影響，至十三世紀以後熾盛光佛信仰逐漸在中國衰亡、消失。 The Tejaprabha Buddha was once a very popular Buddhist icon during China’s the middle ages. The most specific characteristic in Tejaprabha Buddha paintings is its composition. Not only is the composition unique enough to identify the subject, but the constellation icons inside of the panting also have added new motifs to Chinese Buddhist iconographic panting. After the thirteenth-century when the Tejaprabha Buddha’s function became a regional one and the constellation icons spread into other paintings, the Tejaprabha Buddha‘s importance gradually declined and disappeared in China.In this paper, the author intends to show that the two different compositional genres we see in these paintings reflect in fact two different religious bases.A study of monk’s biographies, such as that of Amoghavajra, master of Esoteric Buddhism, has shown that there had existed two distinct constellation or astrological beliefs among monks and that these two different beliefs interacted with each other over a long period. According to history documents, the emperor Xuanzong, was deeply involved with the such beliefs, furthermore, astronomical documents as well as Buddhism sutras reveal that some parts of western constellation or astrological systems were imported into China during this period where the emperor Xuanzong became a powerful supporter of the cult of the Tejaprabha Buddha. All evidence point out that Tejaprabha Buddha belief might be began during the period of Xuanzong’s reign (A.D. 712 - 755).Art history records tell us that Zhou Fang may possibly be the first artist who was devoted to this type of painting. Also, according to the records, the refugee tide during the Hsizong period (A.D.874-888) war might well have been the reason that the Tejaprabha Buddha cult (and painting) appeared at this date in Sichuan. As a result, the Tejaprabha Buddha cult faced competition from constellations icon paintings and other related paintings, and gradually declined after the Yuan Dynasty. |
| 研究時代 | 宋代 |
| 研究地點 | 中國 |
| 點閱次數 | 702 |
| 建檔日期 | 2005.09.23 |
| 更新日期 | 2025.04.02 |
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