本文選題：本生故事　切入點(diǎn)：舍身　出處：《蘇州大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：在佛教本生故事中，舍身故事是一大題材，本文以舍身題材的壁畫為研究對(duì)象，從文化美學(xué)的角度對(duì)其進(jìn)行了初步研究。本文不僅描述了該類壁畫中關(guān)于本生、生、死、施舍等藝術(shù)形象，而且闡述了其在佛教敘事性壁畫中的人文、文化內(nèi)涵；不僅詮釋了舍身題材壁畫中動(dòng)物等有“生命意識(shí)”的意象和樹、山、石等“非生命意識(shí)”的意象之象征符號(hào)意識(shí)，而且解讀了舍身類壁畫中蘊(yùn)藏的樸素之“人大于山”的畫風(fēng)、抑或充盈抑或留白的構(gòu)圖意象，以及紅色類比于血液、黑色作為神秘色彩的文化深蘊(yùn)。通過(guò)上述探討，筆者力圖概括佛教本生故事畫中的舍身類壁畫給中國(guó)美學(xué)史發(fā)展帶來(lái)的重要?dú)v史意義。 具體而言，本文指出，本生故事畫中的舍身類壁畫具有濃厚的審美意蘊(yùn)，它蘊(yùn)藏著原始而曲折的關(guān)于本生、生與死、施舍的理解。首先，從人文的意義來(lái)溯源，本生在佛教中指的是一種直觀的輪回，生命不止，生生不息�！吧馈迸c施舍具有深層次的思辨性。一方面，“生死”的問(wèn)題一直困惑世人，世人無(wú)不在苦苦思索；另一方面，施舍則在“生死”之外，昭示出生命真諦。動(dòng)物類意象作為舍身類題材壁畫中的主題意象，蘊(yùn)含著濃厚的象征意味�；儆谛凶哂陉懙厣系墨F之圖騰崇拜，鷹可歸為飛在天空中的翼獸之生命象征，鹿則是佛陀踐行舍身及體悟生命超越的精神典范，這三種動(dòng)物形象都蘊(yùn)含了豐富的象征意味，暗含著當(dāng)時(shí)人們對(duì)于生命的理解和向往。其次，從造型表達(dá)上來(lái)說(shuō)，舍身類壁畫共包含物象比例、構(gòu)圖、色彩等三元素。一方面，物象比例體現(xiàn)為“人大于山”，它既是一種繪畫畫風(fēng)，同時(shí)也表達(dá)出人們樸素而又原始的審美取向；另一方面，壁畫構(gòu)圖的“滿”，即物象的密集排列，充盈而完整，既表達(dá)出人們內(nèi)心對(duì)于“豐伣”的渴望，同時(shí)也隱含著早期畫家“畏懼”留白的心理特點(diǎn)。然而，留白卻作為一種并行不悖的構(gòu)圖方式，成為在充盈構(gòu)圖基礎(chǔ)上后期產(chǎn)生的歷史現(xiàn)象；再者，色彩承載著人們內(nèi)心最原始的表達(dá)，具有豐富的表意特征。紅色，是血液的涌動(dòng)，古人用這種鮮活的色彩表達(dá)了生命原初的存在；黑色，是生命的“原色”，它蘊(yùn)含著關(guān)乎生死的神秘的超驗(yàn)力量。以紅、黑兩種主要顏色為代表的色彩崇拜、精神訴求，蘊(yùn)含了當(dāng)時(shí)人們?cè)嫉纳磉_(dá)與向往。從總體上看，本文認(rèn)為，佛教本生故事之舍生類壁畫蘊(yùn)含著豐富的審美意蘊(yùn)。如是題材之壁畫的審美意義，，在于它是對(duì)佛教中身體和欲望的闡釋，對(duì)舍身這一行為的象征，以及在輪回之外，皈依凈土世界之境界的宣揚(yáng)。因此，佛教本生故事之舍身題材壁畫所構(gòu)建的意義世界，對(duì)中國(guó)佛教美學(xué)的影響極為深遠(yuǎn)。
[Abstract]:In the story of Buddhist life, the story of sacrificing one's body is a major theme. This paper, taking the fresco of the subject of sacrifice as the object of study, makes a preliminary study of it from the angle of cultural aesthetics. This paper not only describes this kind of murals about life, life and death. Alms and other artistic images, as well as their humanistic and cultural connotations in Buddhist narrative murals, not only explain the images of animals and trees, mountains, etc. The symbolic and symbolic consciousness of the image of "non-life consciousness", such as stone, and the interpretation of the simple painting style of "man is greater than mountain", or the composition image of filling or white, and the red analogy to the blood, contained in the frescoes. Through the above discussion, the author tries to generalize the important historical significance brought to the development of Chinese aesthetic history by the sacrificial frescoes in the Buddhist Bensheng story painting. Specifically, this paper points out that the frescoes in the life story painting have a strong aesthetic implication, which contains the original and tortuous understanding of life, life and death, alms. First of all, trace back to the source from the meaning of humanism. In Buddhism, Bensheng refers to a kind of intuitive reincarnation, in which life goes on and on. "Life and death" and alms are deeply speculative. On the one hand, the question of "life and death" has always puzzled the world, and the world has been struggling to think; on the other hand, Alms reveal the true meaning of life in addition to "life and death". As the theme image in the murals of sacrificial subject matter, the animal image contains a strong symbolic meaning. The tiger belongs to the totem worship of the beast walking on the land. The eagle can be classified as the life symbol of the winged beast flying in the sky, while the deer is the spiritual model of the Buddha to practice and realize the transcendence of life. These three animal images contain rich symbolic meanings. It implies the understanding and yearning of people for life at that time. Secondly, from the aspect of modeling expression, the fresco of sacrificial body includes three elements: proportion of objects, composition, color, etc. On the one hand, The proportion of objects is embodied as "man is greater than mountain", which is not only a painting style, but also expresses the simple and primitive aesthetic orientation of people; on the other hand, the "fullness" of mural composition, that is, the dense arrangement of objects, is full and complete. It not only expresses people's inner desire for "abundance", but also implies the psychological characteristics of "fear" of the early painters. It has become a historical phenomenon on the basis of filling up and composition. Moreover, color carries the most primitive expression in people's hearts, and it has rich ideographic characteristics. Red, is the flow of blood, The ancients used this vivid color to express the original existence of life; black, the "primary color" of life, contains a mysterious transcendental force related to life and death. It contains the original life expression and yearning of people at that time. On the whole, the author thinks that the living fresco of Buddhist life story contains rich aesthetic implication. It is the interpretation of the body and desire in Buddhism, the symbol of the act of sacrificing one's body, and the preaching of the realm of conversion to the Pure Land outside of reincarnation. It has a profound influence on Chinese Buddhist aesthetics.
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J218.6

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