本文關鍵詞： 水陸法會 水陸畫 甘露幀 形制 圖像　出處：《南京藝術學院》2013年博士論文　論文類型：學位論文

【摘要】：佛教第一次傳入到中原漢地是在東漢初年,從印度或西域來的僧侶為了傳播佛教,利用當時漢地流行的黃老思想、方術等,并且融合了佛教所排斥的印度婆羅門教或者其它原始宗教所使用的咒語。當時的人們接受佛教,把其當作求�；驌鯙牡氖侄�,與黃老并存。至東漢末年,佛教逐漸開始影響到社會各個階層。南北朝時期,蕭梁武帝首次舉行水陸法會。 水陸法會所使用的佛畫稱為水陸畫,通常在修設法會時掛在法堂,或是以壁畫形式繪于寺廟內的水陸殿。在韓國的水陸法會中使用的佛畫稱為甘露幀。中國現(xiàn)存水陸畫的形式有卷軸水陸畫、水陸壁畫、水陸版畫等。在中國,佛教活動往往得到政府支持,并且佛教信仰也是社會宗教信仰的主流,在民間廣為流行,可以得到來自官方和民間的財力支持,在這樣的背景下,有著大量的佛事活動,以至于出現(xiàn)將水陸畫內容固定下來方便修設水陸法會儀式的水陸堂,將水陸畫繪制到法堂墻壁之上,得以保存至今。甘露幀畫從朝鮮時代中期以后開始出現(xiàn),在薦度亡魂的四十九齋、水陸齋、豫修齋、盂蘭盆齋等法會中使用,為修齋儀式上用的佛畫。韓國寺廟的法堂內結構分成上段、中段、下段,又分為正面、左右,其中甘露幀畫為置于下端的佛畫,它與供奉佛、菩薩的普通佛畫不一樣,描繪了薦度對象的老百姓生活。甘露幀的構圖整體上分為三段,畫面上半部分描繪各色的佛、菩薩像；中間部分有僧侶給餓鬼舉辦施食儀式、作法等；最下部分有薦度對象的六道眾生場景。中韓水陸畫一脈相承,盡管是從中國傳入韓國,但是由于政治、社會、人文、風俗、經濟等方面的影響,使得韓國甘露幀在形制、樣式、內容、風格上與中國水陸畫既有聯(lián)系又有區(qū)別。
[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.
【學位授予單位】：南京藝術學院
【學位級別】：博士
【學位授予年份】：2013
【分類號】：J205

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本文編號：1556154