https://scholars.lib.ntu.edu.tw/handle/123456789/19830
標題: | 北魏小金銅佛風格與圖像研究 A Study of Style & Iconography of Small Bronze Buddhist Sculptures in the Northern Wei Dynasty of China |
作者: | 張秩瑋 Chang, Chih-Wei |
關鍵字: | 金銅佛;北魏;個人造像;風格;圖像;造像記;商品化;bronze Buddhist sculpture;the Northern Wei;personal Buddhist sculpture;style;icongraphy;inscription;commodification | 公開日期: | 2011 | 摘要: | 北魏時期金銅佛更大為風行,廣泛流行於城市和村落間,它在經歷疆土異動、徙民政策、太武帝毀佛行動、文成帝復興佛法,並受到政治、社會、經濟等各方面的影響,而有一番流轉遷化的過程。本文係以小金銅佛實物為主要資料,探討其流行背景、時代風格、區域風格、圖像特色,及其上所刻的發願內容等。現存北魏小金銅佛的造像者多為個人,也有具血親或配偶關係的親屬,而大部分是在家的俗人信徒,其功德迴向對象以具血緣關係的家庭為核心,因此它的作用是比較個人的;與置於寺院或公共場所的金銅佛,或被請出巡行的金銅佛的作用不同,規格通常不大,普遍是安置於家中,供己身或家人供養禮拜之用。 以造像的時代風格而論,金銅佛的風格發展可以分成四個階段,自第一期第三階段(452-476)開始,金銅佛開始展現出北魏自身獨有的風貌。至第二期(477-491)以後,金銅佛迅速流行,風格愈益多樣,藝術水平達到第一個頂峰。第三期(492-512)中國樣式的金銅佛逐漸增多,至第四期(513-534)典型漢式金銅佛成為主流,工藝成就又臻至另一高峰。以造像的區域性發展而言,河北地區金銅佛的藝術特色,即在造型、紋飾上有崇尚精緻瑰麗的趨向,第二期、第四期為其最具代表性的二個階段。山東地區或因地理位置特殊,造像藝術時有獨創新格的表現;晚至第四期時,區域特色始得確立,為最具代表性的一個時期。除河北、山東外的其它地區遺存很少,但陝甘寧地區仍可以發現一些具濃厚地方特色的小銅像。此外,有關金銅佛的圖像研究,以觀世音像、多寶佛像佔最高的比例,彌勒像亦不少,作為佛教中心人物的釋迦像反而不多,無量壽佛像最少,這可能也反映受北魏個人或家中歡迎程度的排列次序;各類尊像題材的圖像特色皆相當多樣、混雜,尊像題材的認定應經常受到出資者的好尚左右,使其佛教圖像儀軌看來似乎不受嚴格規範。至於在金銅佛上所刊刻的發願文,多內容扼要、用詞概括,有與現世利益相關的祈願,也有具佛教內容的期望,以後者為多,但幾乎不見深奧的佛教義理,多載述簡單的信仰概念,部分內容則反映信徒對佛教內涵不全洞悉明白,這可能與金銅佛的作用及造像者的社會背景有關。 值得一提的是,金銅佛應需要仰賴手工作坊製作,通常以商品買賣方式流通;隨著小金銅佛的流行,它便開始出現了明顯的造像商品化的現象,如粗製濫造的情形、大量複製生產的跡象。另外,部分金銅像或許是經由手工作坊屯積了一段時間以後,才經出資者購買,繼而刊刻簡短記文;因此,金銅佛上所刻載的年代是否可以全都等同於造像完成時間,可能存有疑慮。 During the Northern Wei dynasty (A.D. 386-534), Chinese bronze Buddhist sculpture is extremely prevalent. Both city people and country people may preserve or pay obeisance in the bronze Buddhist sculptures at their home. Its distribution and production are affected by the political situations, economic conditions, and social organizations. As a background for the following study it is necessary to remember some events, especially of the unification of northern China in 439, deporting craftsmen from Hebei(河北) to Datong(大同), Emperor Tai-Wu’s (太武帝, 424-452) destroying Buddhism, Emperor Wen-Cheng’s (文成帝, 440–465) restoring Buddhism, and moving the capital from Datong to Luoyang (洛陽). These events occur in the aftermath of the tremendous religious developments that take place in Chinese Buddhism art during the fifth century. The main research object of my thesis is the “small” bronze Buddhist sculpture in the Northern Wei Dynasty. The task of establishing the most complete understanding of its art during this period necessarily depends upon a comprehensive approach that utilizes historical conditions, stylistic analysis, spatial analysis, iconography analysis, and inscription research. Most of its sponsors are just a single common person, and a few other sponsors are the close relatives, monks, and nuns. It is mostly smaller than 30 centimeters high. Therefore, it is different from the bronze sculptures that set in some temples or other public place, and it might be for personal use. It is the pourpose of my thesis to demonstrate what a high popularity for small Buddhist sculptures among personal sponsors are. According to bronze sculpture’s style analysis, its development is presented in four periods: Stage I, ca. A.D. 386- ca. 476; Stage II, ca. 477- ca. 491; Stage III, ca. 492- ca. 512; and Stage IV, ca. 513- ca. 534. The period from around 452 until 476, there are some sculptures which appear to have developed stylistically beyond the previous modes. Stage II is probably the first fully developed period. Stage III is transitional period in the formation of the traditional Han-style bronze sculpture. The next major achievement in manufacturing technology and innovative depiction after Stage II is Stage IV. The sculptures during Stage IV is fully cross the boundary and can be set squarely within traditional Han-style lineage. In regard to its spatial analysis, the sculptures from Hebei province (河北省) reflect elaborate and sophisticated taste. Its Stage II and Stage IV both deserve to be recognized as major representative. Otherwise, the sculptures from Shantung province (山東省) during the Taihe period (太和, 477-499) become alive in its development, and owing to Shantung’s distinctive regional position, there are some sculptures which appear the innovative characteristics. During the Stage IV, some sculptures from Shantung have developed into a genuinely mature regional style. Shantung’s Stage IV can rightly be called the major typical period. Exclusive of Hebei and Shantung, bronze sculptures during this period are seldom left in northern China. Even so, we still can collect and identify a few bronze sculptures from Xingshi (陝西), Gansu (甘肅), and Ningxia (寧夏) and the sculptures represent the vivially regional characteristics. Furthermore, in regard to iconography analysis, according to my statistics, the two most popular figures are Avalokiteśvara (觀世音) and Prabhūtaratna (多寶佛). Maitreya (彌勒) is a kind of the influential Buddhism figure. However, few bronze sculptures are inscribed with Śākyamuni (釋迦牟尼) and Amitāyus (無量壽佛). A study of these sculptures reveals the complex variations within the iconography and iconology of small bronze sculptures themselves. The principles of Buddhist iconography for bronze sculptures are not extremely rigid. The brief inscriptions on the bronze sculptures seldom contain profound Buddhist doctione and deep truth. Besides, because of its complicated manufacturing process and technology, the production of bronze sculptures may depend on skilled craftmen to employ a number of distinct casting processes. Therefore, if people prefer to a bronze sculpture, the handmake store will trade at them. The bronze sculptures getting more and more popular during the Northern Wei dynasty, it seems that these riligious stuff increasingly becomes marketed commodities. The bronze sculptures themselves become commodities to be sold and bought and we can be considered this subject to commodification in context. Otherwise, because some bronze sculptures during this period are sold after an indefinitely long period of time, we can not be completely convinced that the time on its inscription can be seem as the time that bronze sculptures have been manufactured. |
URI: | http://ntur.lib.ntu.edu.tw//handle/246246/257791 |
顯示於: | 藝術史研究所 |
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ntu-100-R95141005-1.pdf | 23.54 kB | Adobe PDF | 檢視/開啟 |
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