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| 從西域之神到東土隱士：唐宋維摩詰圖題詩之衍變 =From a God of the Western Regions to a Hermit of the East:The evolution of the Vimalakirti figure of the colophon poems in Tang and Song Dynasties | ||
| 作者 | 查屏球 (著)=Zha, Pingqiu (au.) |
|---|---|
| 出處題名 | 佛光學報=Fo Guang Journal of Buddhist Studies |
| 卷期 | v.1 n.2 |
| 出版日期 | 2015.07 |
| 頁次 | 305 - 356 |
| 出版者 | 佛光大學佛教研究中心 |
| 出版者網址 | https://cbs.fgu.edu.tw/ |
| 出版地 | 宜蘭縣, 臺灣 [I-lan hsien, Taiwan] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 附註項 | 作者單位：復旦大學中國語言文學系教授。 本文屬教育部人文社會科學研究基地重大項目《近古流行唐宋詩文評點本研究》（項目編號：13JJD750005）。 維摩經與東亞文化專刊。 |
| 關鍵詞 | 維摩詰形象=Vimalakirti; 題畫詩=colophon poems; 本土化=localization; 詩畫關係=the relation between poetry and painting |
| 摘要 | 盛唐時代，顧愷之、吳道子〈維摩詰圖〉最為流行，人物動作、表情已成固定範式，構圖多有神界特點，詩家多以朝聖心理詮釋圖像。中唐之後，以白居易為代表，詩人好以維摩詰自況，在詩中好將自己生活「維摩詰化」，自敘詩與寫真圖多以〈維摩詰圖〉中人物神態與場景為樣本，形成了維摩詰化的香山居士形象。宋人多受這一藝術思維影響，接受並推演白居易形象中的維摩詰因素，在水墨畫與題贊詩中將維摩詰藝術形象進一步世俗化與本土化，使得維摩詰形象宗教性、異域性特點漸少，並與香山居士形象合成。這也是東亞文明中一個共同的文化現象，維摩詰形象的本土化在日本、朝鮮詩畫中也有所體現。特別是日本，由於保存早期維摩詰水墨畫與題贊詩較多，可清晰展示這一過程。 During the High Tang period, Vimalakirti-themed paintings by Gu Kaizhi and Wu Daozi were the most popular. Patterns of the figure’s movements and facial expressions had become stabilized by then, and layouts of these paintings often represented features of the divine world. Poets often interpreted such images of Vimalakirti with the reverence for a sage. Since the mid-Tang, exemplified by Bai Juyi, poets liked to compare themselves to Vimalakirti and transform their lives in his image through their poetic composition. Self-presentations in poems and portraits often patterned themselves on scenes or the figure’s behavior in Vimalakirti-themed paintings. In this way, Bai’s image as a Vimalakirti type hermit of Xiangshan took form. People of the Song Dynasty were often influenced by this artistic approach. Accepting and developing the Vimalakirti elements in Bai Juyi’s image, they further secularized and Sinicized Vimalakirti’s artistic image in their ink-wash paintings and encomium poems, reduced its religious and exotic features, and had it combined with the image of the Hermit of Xiangshan. This cultural phenomenon was also shared by other East Asian civilizations. Localization of Vimalakirti’s image can also be observed in poetry and paintings of Japan and Korea. This is especially the situation in Japan: since there were relatively more Vimalakirti-themed ink-wash paintings and encomium poems surviving from early period, the localization process can be clearly traced. |
| 目次 | 中文摘要 305 Abstract 306 一、神異光環：由杜甫、王維看中唐前維摩詰畫與詩之關係 307 （一）唐前維摩詰像的神異性與西域色彩 307 （二）杜甫關於顧愷之維摩詰像的記憶 309 （三）王維畫贊與維摩化人格形象的離合 311 二、俗性漸顯：白居易自我形象的「維摩化」 315 （一）白居易以維摩詰為人格偶像 315 （二）白居易自我形象的維摩詰化 319 （三）〈香山居士圖〉與〈維摩詰圖〉 325 三、狂隱之士：以蘇軾、黃庭堅詩與禪僧畫贊為例 329 （一）詩家對維摩詰形象的戲化 329 （二）「維摩禪畫」與禪意題畫詩的流行 335 （三）維摩禪畫與〈香山居士圖〉 337 （四）維摩形象在日、韓的本土化 341 引用書目 346 附 圖 ： 346 一、唐前維摩詰像 346 二、唐代維摩詰像 347 三、宋元明維摩詰圖 348 四、日韓藏維摩詰圖 351 五、〈香山居士圖〉與〈香山九老圖〉 354 |
| ISSN | 24143006 (P) |
| 點閱次數 | 281 |
| 建檔日期 | 2016.06.23 |
| 更新日期 | 2025.12.31 |
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