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| 佛塔的起源與開展 -- 以印度桑吉佛塔為主=The Origins and Development of Buddhist Stupa: The Monument of India Sanchi | ||
| 作者 | 吳信宏 (著)=Wu, Shin-hong (au.) |
|---|---|
| 出版日期 | 2008 |
| 頁次 | 261 |
| 出版者 | 玄奘大學宗教學系碩士班 |
| 出版者網址 | http://ird.hcu.edu.tw/front/bin/home.phtml |
| 出版地 | 新竹市, 臺灣 [Hsinchu shih, Taiwan] |
| 資料類型 | 博碩士論文=Thesis and Dissertation |
| 使用語言 | 中文=Chinese |
| 學位類別 | 碩士 |
| 校院名稱 | 玄奘大學 |
| 系所名稱 | 宗教學研究所 |
| 指導教授 | 鄭弘岳 |
| 畢業年度 | 97 |
| 關鍵詞 | 初期佛教=Early Buddhism; 桑吉佛塔=Sanchi stupa; 聖樹支提=Bodhi-druma cetiya; 佛像=Buddhist image; 涅槃=Parinirvana |
| 摘要 | 本論文主要以印度初期佛教有關佛塔、聖樹支提與無佛像圖像象徵的宗教藝術文化風格，並以桑吉佛塔遺蹟為主，以此論證佛陀與聖弟子是真實存在。試圖解析桑吉佛塔浮雕圖像象徵的起源與宗教藝術建築文化的開展涵義。而這些圖像象徵的主題所要關注的事蹟多與佛陀的生命及平生傳歷有關，同時也可以窺視古印度文化生活面貌，以及來自原始概念的藝術符號、佛教主題圖騰與非佛教相關圖騰，更豐富了初期佛教的宗教藝術建築文化，使之成為偉大的宗教，也是宗教藝術，更是佛教發展史的最佳線索與考證。本文將探討研究的對象集中於佛塔起源、聖樹支提、無佛像到佛像等三個圖像象徵的源起與開展。而印度桑吉三座佛塔是世界上現存最古老，保存最完整而壯觀的佛塔，是一座佛教教主與聖弟子的遺蹟，也是佛教藝術與印度文化美學的傳奇。再以桑吉三座佛塔的塔身、塔基、頂部、剎杆、傘蓋及塔門與欄柵、步道等的雕刻藝術，藉由初級史料經典與次級史料文獻和印度本土美學為架構，以類型學與圖像學的研究方法來解析佛塔的浮雕圖像象徵釋迦牟尼佛是真實存在的人物。又以「蓮花──出生」、「菩提樹──成道」、「法輪──說法」、「佛塔──涅槃」的藝術圖像學的雕刻特色，在詮釋佛塔信仰與印度建築文化地位的重要性。再者，對初期佛教圖象象徵「無偶像論」，以南傳佛教的「四大事相」之特色，和北傳佛教的「八相成道」之風格與現在佛教佛像崇拜風格，作為比較以反思宗教圖像象徵涵義。 This article studied the origins and development of Buddhist stupa by examining the stone carving of the Sanchi and related Buddhist documents. It focuses on the carved images related to architecture as well as the thought relating to stupa worship in early Mahāyāna. First, the definitions of stupa, reasons for building stupas, and forms of stupas are examined through a textural study. Second , the carvings of Sanchi stupa with content relating to religious architecture are examined. The article explores not only perfection of wisdom sutras in the early Mahāyāna period, but also throught relating to stupa-worship. Furthermore, through the study of carvings and caparison with descriptions in texts, four typology of stupa, and four typology of bodhi-druma cetiya architecture may be found-disclosed stupa, house stupa, and no-wall stupa, which prevailed before 250 B.C. in India. These developments in religious architectural forms represent the progressive development of the idea of worship from sacralization to worship, to merit, very closely related to the lift events of Buddha（birth ─lotus, enlightenment─bodhi-druma, teaching─dharmacakra, death─stupa）. And this study would mainly investigate the three major Symbolic reliefs as stupa and bodhi-druma cetiya and Buddha iconism. In view of the sculptured imaged found at gateways and railings of great stupa, stupa 2 and stupa 3 at Sanchi, the study would primarily be conducted with literature and arts history of India, supplemented with research methodology of iconography and typology so as to appreciate the status and importance of iconography features of stupa and bodhi-druma significance and development in early Buddhism. At the end, the author would try to correlate the features of symbolic relief of ancionsim from early Buddhism with that of idol-worship of contemporary Buddhism so as compare the meaning and significance of anti-religious symbolic relief. From the above-mentioned research processes, relevant results of early Buddhism is of aniconism, it indicates such irreplaceability of Buddha image, and the existence of Buddha can only be suggested with symbolic relief. Stupa can be found its origin from funeral service. Buddha it is turned into the hemispherical dome, it parinirvāna of Buddha, such being the ultimate symbol of realization of attained Samma Sambodhi of Buddha, Bodhi-druma cetiya can be traced to the worshipping of sacred tree, symbolizing the enlightment of Buddha as well as the witness to the Symbol of determination to enlightmnet of Buddha. |
| 點閱次數 | 795 |
| 建檔日期 | 2009.12.10 |
| 更新日期 | 2015.08.07 |
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