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| 故宮博物院藏《維摩演教圖》的圖本樣式研究=A Discussion of The Illustration of ‘Vimalakirti's Presentation on Buddha Doctrine' (Wéimó Yǎnjiào Tú) in The Collection of The Palace Museum | ||
| 作者 | 王中旭 (著)=Wang, Zhong-xu (au.) |
|---|---|
| 出處題名 | 故宮博物院院刊=Palace Museum Journal |
| 卷期 | n.1 |
| 出版日期 | 2013 |
| 頁次 | 97 - 119 + 160 |
| 出版者 | 紫禁城出版社 |
| 出版者網址 | http://www.culturefc.cn/index/product.jhtml?act=index |
| 出版地 | 北京, 中國 [Beijing, China] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 附註項 | 作者單位：故宮博物院古書畫部。 |
| 關鍵詞 | 維摩演教圖=‘Vimalakirti’s Presentation on Buddha Doctrine’ （Wéimó Yǎnjiào Tú）; 不二法門=The Unity of the Buddha-nature （Bù èr Fǎ Mén）; 文殊使者=the followers of Manjusri; 降靈文殊; 普賢像; ‘Manjusri and Samantabhadra Showing Bodily Presence’ |
| 摘要 | 本文是針對故宮博物院藏《維摩演教圖》圖本樣式的研究,主要得出以下三點結論:1、該圖是在唐代《維摩變》的基礎上演變而來,作品突出維摩不二、天女散花的形象,體現了北宋后期以來文人士大夫的信仰和情感;2、圖中文殊一側的會眾中,除菩薩及青毛獅子外,還有善財童子、佛陀波利、文殊化現老人和于闐王,他們以文殊使者的身份出現在這場法會中;3、從文殊使者進入與文殊相關題材圖像的時機,以及該圖與《降靈文殊、普賢像》中部分圖像樣式的相似上來看,二圖創作的時間應接近,因此金維諾、方聞先生認為該圖繪制于金是有道理的,二圖對《新樣文殊》的利用、改造,反映了南宋時代(包括金、西夏)宗教畫創作觀念的變化。 The author’s analyses of the illustration of ‘Vimalakirti’s Presentation on Buddha Doctrine’ (Wéimó Yanjiào Tú) in the collection of The Palace Museum are as follows: Firstly, it is based on the Story of Vimalakirti (Wéimó Biàn) of the Tang dynasty, which is prominently featured by Vimalakirti who is seated with his two fingers upward and a heavenly maid standing on the right with a bunch of flowers in her hands. It embodies the worship and emotion the official scholars had in their mind ever since the late Song dynasty. Secondly, those standing with Manjusri are bodhisattvas, a green-haired lion, Sudhana, Buddhapalita, an old man who appears as the incarnation of Manjusri and Khotan Prince, all of whom attend the forum on Buddhist doctrine as the followers of Manjusri. Thirdly, judging by the occasions on which the followers of Manjusri are present at the illustrations about Manjusri and what is shared by both ‘Vimalakirti’s Presentation on Buddha Doctrine’ (Wéimó Yǎnjiào Tú) and ‘Manjusri and Samantabhadra Showing Bodily Presence’ (Jiànglíng Wénshū Pǔxián Xiàng), they are close to each other in age, which supports the judgment by Mr. Jin Weinuo and Mr. Fang Wen that this version of ‘Vimalakirti’s Presentation on Buddha Doctrine’ (Wéimó Yǎnjiào Tú) should be created in the Jin dynasty. It is reflected form the both new-styled illustrations which are based on ‘The Figures of Manjusri and His Followers’ (Xīnyàng Wénshū) fpr reference that a different idea of religious art was formed in the Southern Song dynasty (including the Jin and the Western Xia periods). |
| 目次 | 引言 97 一、維摩不二、天女散花與文人士大夫的信仰和情感 100 二、文殊的使者：善財童子、佛陀波利、文殊化現老人與于闐王 107 三、圖本的利用與改造 111 結語 118 |
| ISSN | 04527402 (P); 04527402 (E) |
| 研究類別 | 佛教圖像 |
| 研究時代 | 中國-無 |
| 研究地點 | 中國 |
| 點閱次數 | 421 |
| 建檔日期 | 2013.10.18 |
| 更新日期 | 2019.09.23 |
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