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標題: | 高麗阿彌陀畫研究 A Study on Amitabha Paintings in Goreyo Dynasty (918-1392) |
作者: | Jae-yeon Rhie 李在娟 |
指導教授: | 李玉?(Yu-min Lee) |
關鍵字: | 高麗佛畫,東亞佛教藝術,風格分析,圖象學與圖意學,阿彌陀,〈來迎圖〉,〈觀經十六觀變相圖〉, Goryeo Buddhist Painting,Buddhism Art in East Asia,Stylistic Analysis,Iconography and Iconology,Amitabha,Welcoming Descent of Amitabha,Sixteen Contemplations of the Visualization Sutra., |
出版年 : | 2012 |
學位: | 碩士 |
摘要: | 本論文旨在於再評估高麗時期(918-1392)的韓國佛教繪畫,以阿彌陀畫為主,在廣泛的脈絡之下探討從十二至十四世紀東亞佛教繪畫的特色。本論文由三個章節組成,各章節的主題如下:
第一章所處理的重點是「從十二至十四世紀中國與韓國的佛教繪畫風格分析」。現在為人所知在全世界分散收藏的高麗佛畫大約一百五十餘件,但是,筆者透過已出版的各種圖錄和研究資料,所發現的高麗佛畫圖版資料共有一百九十二件,另外還有九條的文獻記錄。 從菊竹淳一教授與鄭於澤教授對於高麗佛畫的研究以來,高麗佛教的風格被認為以兩種基準可以分類:製作年代以及表現方式。根據製作年代歸類成兩種形式:前期的「自然主義樣式」和後期的「形式主義樣式」;並依據表現方式又可分為三種類型:「宮廷樣式」、「寺院樣式」以及「民間樣式」。 然而,照上述的兩種類目,實際上難以明確分類。因為具有題款的高麗佛畫中,最早的作品之製作年代為1286年。並且,現存的所有高麗佛畫都屬於高麗後期之作,又分別前期和後期的基準時間點也十分曖昧。換言之,把所有的高麗佛畫依製作年代先後順序排列是相當不確定的。再加上,極少數的作品才具有題款或相關文獻記錄。因此,筆者認為,許多作品同時呈現出高麗佛畫多樣的特點,而不是每件作品都屬於某一種特定的類型,這樣的考慮似乎比較合理吧。 筆者在本章中,詳細地考察高麗佛畫的諸相,例如,「整幅畫面的構成」、「神位的形象樣貌」、「尊像的身軀比例與姿勢」、「服裝的紋樣」、「裝飾型態」、「背景山水」等。筆者進行龐大的中韓佛畫材料之詳細地風格分析,通過如此歸納式的推論,筆者提出一些高麗佛畫的分類標準,以工筆設色畫為主,筆者將之稱為「典型的高麗風格」。 「典型的高麗風格」可分為兩大類:第一種是在構成方式上,呈現出與宋元時代佛教作品有明顯差異的組合;第二種是在形狀以及精緻的細節描繪技法方面,在高麗佛畫作品上特別常出現的一些特徵。雖然筆者難以斷言何謂在其他地區沒有被發現的正統高麗風格,但筆者試圖描述在如上所述的各類範疇內高麗佛畫所常出現的一些共同特徵。 第二章的重點是對於「中世(十二至十四世紀)東亞三國(中國、韓國、日本)阿彌陀畫的圖像學與圖意學的分析」指出一些解釋。高麗阿彌陀畫過去一直被認為深收敦煌與西夏藝術的影響。筆者也同意多數中韓作品具有相似之處(共同點),因為它們是基於同一的原型被製作的。即便如此,實際的傳世高麗佛畫作品,同時具有許多相異之處(差異點)。多數的高麗佛畫展現出從「臨摹」到「轉變」的脫胎換骨之發展,甚至創造出一些新表現的類型。如此的新表現,不但呈現出高麗人的審美觀以及民族品味,還反映著在高麗地區宗教和文化方面獨特的地方特色。 如此「高麗獨特的表現」方面,日本九州島津家舊藏本〈阿彌陀如來圖〉(圖 2)可稱謂一件卓越的例子。主尊阿彌陀佛似乎在召喚觀者,使他處於臺座,向觀者的右測前進,引導著使他到達目的地(西方淨土)的形貌。因此,對於本圖像的解釋曾被提起種種學說,例如,「阿彌陀佛引導往生者的形象」或「歸來迎」等,並且進一步地指出,該圖像應該與中國或日本的佛教藝術有關聯。但是,如此獨特的姿勢目前在中國或日本阿彌陀類作品中尚未發現,並且在高麗地區內有關「歸來迎」信仰以及東亞佛教中「阿彌陀」信仰與「引路菩薩」信仰之間的關係也仍未確知。因此,筆者把該作品視為一件呈現出「高麗獨特的表現」之〈阿彌陀來迎圖〉。並且,筆者提出如此特別的阿彌陀佛圖像之獨特性,也許與中國或日本的相關作品有別,而反映著高麗人的現世淨土思想之可能性。 此外,筆者再檢討圖像傳播路徑的問題。由於一些阿彌陀佛圖象之間的類似性,絕大多數的前輩學者們推定為當時高麗可能與敦煌、西夏、吐魯番、寧波以及同時代的其他地區有直接地交流。但是,由於除了圖像之外,並沒有任何具體的證據有關兩地的直接交流,因此,筆者提出了異見。筆者認為,高麗畫師可能是基於北宋時期(960-1127)以前所成立的「粉本(稿本)」而製作。 另外,筆者認為社會背景也有必要值得注意考察。過去的研究表明有些高麗阿彌陀畫強烈地表示「宮廷風格」,因為其發願者是當時具有莫大權力的高麗寵臣之一,與高麗王室深有關係,如廉承益。但是,筆者無法完全接受這種觀點。因為,在高麗時期,阿彌陀信仰並不是只被皇室與貴族信奉的,而是超越信徒的社會階級,普及地被高麗社會接受,在全國廣泛流行的宗教。 還有,社會環境問題也值得留意。特別令人注目的是現藏於日本鄰松寺與知恩院的兩件高麗〈觀經十六觀變相圖〉(圖 19、20)作品中出現的「女性形象」之圖像。我們可以推測如此的「女性形象」象徵的意義。實際上,這是表明女性的社會地位,從這一事實可以得出結論,在高麗社會內女性與男性是平等的。因此,筆者認為如此的「女性形象」具有特別重要的意義,就是一種在高麗社會內女性地位的象徵。 在第三章所敘述的是「在高麗地區內阿彌陀信仰的研究」。在統一新羅時期,淨土宗十分盛行,可稱為迎接黃金時代。到了高麗時期,獨立的淨土宗已被消失,但其核心思想被天台宗、禪宗以及華嚴宗所吸收,仍然在高麗社會內持續地流行。阿彌陀信仰是淨土宗的主要思想,所以筆者描述如此的宗教背景也可能與高麗阿彌陀畫的製作有關聯。 總而言之,在這篇論文中,筆者擬探討中世(十二至十四世紀)東亞三國(中國、韓國、日本)佛教作品之間的互動與影響面貌,以高麗阿彌陀畫為主。為了建立「文化多元性」以及在東亞佛教藝術作品中「各別作品的價值」,需要進一步地研究。由於本研究涵蓋的範圍如此廣泛,關於這主題仍有一些尚未解決的內容,不過,筆者希望略盡微薄之力,有助於促進韓國美術史的研究,並期盼高麗佛畫可以吸引全世界學者們以及大眾之更深的關注。 The purpose of this thesis is to re-evaluate the Korean Buddhist paintings of the Goryeo period (918-1392) in a wider context, by examining the characteristics of the East Asian Buddhist Painting in the Twelfth to Fourteenth centuries, focusing on the Amitabha Painting. This thesis is composed of three chapters, and the subjects of each chapter are as follows. Chapter 1 deals with ‘The Stylistic Analysis of the Chinese and Korean Buddhist paintings in the Twelfth to Fourteenth Centuries’. It has been known that there are approximately 150 Goryeo Buddhist paintings around the world, but the author found out 192 figures and another 9 records from the published catalogs. Ever since Jun’ichi Kikutake (菊竹淳一) and Woo-thak Chung (鄭于澤) had published their own research work, the style of the Goryeo Buddhist paintings are categorized by two criteria, i.e. production year and the expression ways. According to one criterion based on the years of production, it is classified into early ‘Naturalism style’ and the late ‘Formalism style’. On the other hands, the second criterion is set by the expression ways and according to this criterion it is categorized into three types: ‘Royal court style’, ‘Temple style’ and ‘Folk style’. However, it is hard to analyze the style of the Goryeo Buddhist paintings definitely in accordance with the categories mentioned above, because the earliest work of the Goryeo Buddhist paintings having an inscription is dated 1286. And since all the existing Goryeo Buddhist paintings have been dated to the late Goryeo Dynasty, the two-step periodization, that is to say former and latter, is also fairly ambiguous. In other words, in case of Goryeo Buddhist paintings listed in chronological order, there exist considerable uncertainties. Furthermore, due to the fact that only a few works have inscriptions or records, it is reasonable to consider that many works represent diverse features of the Goryeo Buddhist paintings at the time instead of confirming a work to belong to certain category. In this chapter, the ‘Style’ of the Goryeo Buddhist paintings has been considered in various aspects, including ‘The composition of the tableau’; ‘The appearance of the deity’; ‘The body proportions and posture of the sacred image’: ‘The pattern on the clothes; ‘The design of the ornaments’ and ‘The background landscape’ and so on. Through detailed inductive reasoning of the massive Chinese and Korean Buddhist Painting materials, the author proposes the criteria for classification of Goryeo Buddhist Painting, focusing on the elaborate-style color painting, namely, the ‘Typical Goryeo Style’. The ‘Typical Goryeo Style’ can be divided into two categories: the first is the composition format which combines many significantly different elements from Song and Yuan Buddhist works; the second is some shapes and elaborate descriptions of detailed features which are common in the Goryeo Buddhist paintings. Though it is difficult to assure an orthodox Goryeo Style which is found nowhere else, but I attempted to describe the common features of Goryeo Buddhist Painting in each category as stated above. Chapter 2 gives an explanation of ‘The Iconographic and Iconological analysis of the Amitabha paintings of the Chinese, Korean and Japanese works produced in the Middle Ages’. The Goryeo Amitabha paintings have been considered to be accepted a strong influence from Dunhuang (敦煌) and Xixia (西夏) art. The author agrees that there are similarities between Chinese and Korean works, because many of them were based on the same prototype. Even so, there are also lots of differences in parallel. Many Goryeo Buddhist paintings had met with an amazing metamorphosis from imitation to transformation, even invented new types of expression. The new-expression is not only indicative of the aesthetic standards and the inclinations of the Goryeo people, but also reflects the unique local features of Goryeo from a religious and also a cultural perspective. An Amitabha painting formerly in the collection of the Shimazu daimyo family in Satsuma Province, on the Japanese island of Kyushu (fig. 2) is a remarkable example of the ‘Goryeo’s own expression’. The deity appears to beckon the viewer, presumably guiding a viewer believing rebirth to a pedestal that seems to lead viewers toward a destination, i.e. Western Paradise, somewhere to the viewer’s right side. So, there are some explanations for this iconography such as ‘Amitabha leading a person who believe rebirth to the Western Paradise’ or ‘Returning Amitabha’, which indicates that it is related to the Buddhist Art in China or Japan. But this unique pose does not appear in Chinese or Japanese Amitabha works yet, also neither the faith of Returning Amitabha in Goryeo nor the relationship between the belief of Amitabha and Bodhisattva Leading the Way in East Asian Buddhism become known yet. Therefore the author regards this work as the Welcoming Descent of Amitabha which represents ‘Goryeo’s own expression’. Thus, I suggest that the uniqueness of this special Amitabha iconography may be differentiated with the Chinese or Japanese works, and that it reflects the thought of the Goryeo people regarding the Pure Land as a place in this world where they lives. Moreover, I reconsidered the transmission route of the iconography. Because of the similarity of some Amitabha iconography, most senior scholars suggest that Goryeo might directly interact with Dunhuang, Xixia, Turfan, Ningbo and other regions of China at that time. But there is no concrete evidence about the exchanges between the two regions except the iconography, so I raised an objection. I think that they may have been drawn by Goryeo painters based on the ‘Manuscripts’ which were drawn before the Northern Song period (960-1127). Over and above, I think that the social background is especially worthy of notice. Previous research suggested that some Amitabha paintings mightily reveals the ‘Imperial style’, because the patrons, like Yeom Seung-ik (廉承益), held enviable positions in the court and wielded enormous power. But I could not entirely accept this point of view. Because in the Goryeo period, the Amitabha belief was not the preserve of royalty and aristocracy only, it was a widely accepted belief which gained wide support that crossed social rank throughout the nation. In addition, it is worth noting about the social environment. What is especially remarkable about the Iconography is the ‘Female Image’ based on the Sixteen Contemplations of the Visualization Sutra in the collection of Rinsho-ji temple in Aichi Prefecture (fig. 19) and Chion-in temple in Kyoto, Japan. (fig. 20) We can fathom out what the ‘Female Image’ could possibly mean. In actually, it indicates the social status of women, and from this fact it can be concluded that women were on an equal footing with men in Goryeo society. So I think the ‘Female Image’ has particular significance, as a symbol for women’s position in Goryeo society. Chapter 3 describes ‘The Study of the Amitabha Belief in Goryeo’. During the Unified Silla period the Pure Land order of Buddhism were flourishing and had its golden age. After changing of the dynasty from Unified Silla to Goryeo, the Pure Land order was divided into several sects and gradually declined, but the heart of Pure Land thought had been absorbed by other orders such as Tiantai, Chan and Huayan and it was still widely permeated in all levels of Goryeo society. The Amitabha Belief is the key thought of the Pure Land order, and so the author draws a deduction that this religious background is closely related to the production of Amitabha paintings in Goryeo period. To sum up, in this thesis the author investigated the interactions and influences among Chinese, Korean and Japanese Buddhist works in Middle Ages, especially concerning on the Goryeo Amitabha paintings. It is needed to study further for establishing the ‘Cultural Diversity’ and the ‘The Value of Each Works’ in the East Asian Buddhism Art. Because the scope of this research covers so wide that it still remains indeterminateness about this topic, the author hopes to contribute to the advancement of Korean art history and also wishes that Goryeo Buddhist Painting could attract worldwide attention for both scholars and public alike. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/15918 |
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