中韩水陆画比较研究

【作者】 尹惠俊；

【导师】 耿剑；

【作者基本信息】 南京艺术学院 ， 美术学， 2013， 博士

【摘要】 佛教第一次传入到中原汉地是在东汉初年,从印度或西域来的僧侣为了传播佛教,利用当时汉地流行的黄老思想、方术等,并且融合了佛教所排斥的印度婆罗门教或者其它原始宗教所使用的咒语。当时的人们接受佛教,把其当作求福或挡灾的手段,与黄老并存。至东汉末年,佛教逐渐开始影响到社会各个阶层。南北朝时期,萧梁武帝首次举行水陆法会。水陆法会所使用的佛画称为水陆画,通常在修设法会时挂在法堂,或是以壁画形式绘于寺庙内的水陆殿。在韩国的水陆法会中使用的佛画称为甘露帧。中国现存水陆画的形式有卷轴水陆画、水陆壁画、水陆版画等。在中国,佛教活动往往得到政府支持,并且佛教信仰也是社会宗教信仰的主流,在民间广为流行,可以得到来自官方和民间的财力支持,在这样的背景下,有着大量的佛事活动,以至于出现将水陆画内容固定下来方便修设水陆法会仪式的水陆堂,将水陆画绘制到法堂墙壁之上,得以保存至今。甘露帧画从朝鲜时代中期以后开始出现,在荐度亡魂的四十九斋、水陆斋、豫修斋、盂兰盆斋等法会中使用,为修斋仪式上用的佛画。韩国寺庙的法堂内结构分成上段、中段、下段,又分为正面、左右,其中甘露帧画为置于下端的佛画,它与供奉佛、菩萨的普通佛画不一样,描绘了荐度对象的老百姓生活。甘露帧的构图整体上分为三段,画面上半部分描绘各色的佛、菩萨像；中间部分有僧侣给饿鬼举办施食仪式、作法等；最下部分有荐度对象的六道众生场景。中韩水陆画一脉相承,尽管是从中国传入韩国,但是由于政治、社会、人文、风俗、经济等方面的影响,使得韩国甘露帧在形制、样式、内容、风格上与中国水陆画既有联系又有区别。更多还原

【Abstract】 It was in early Eastern Han Dynasty when Buddhism was introduced to China (after25A.D.). To get their missionary jobs done,monks and priests melted the ideas of Emperor Huang and Lao Tzu, also the black magic tricks of Daoism together with the forbidden curse from Brahman or other religions right into Buddhism. People bought it after all, taking Buddhism as blessing or a shield to all evils. Buddhism walked with local ideas hand in hand. Little by little,around the late Eastern Han (before220A.D.), Buddhism became to influence people of all ranks.During the Northern and Southern Dynasties(420-589A.D.), the Emperor held the first-ever Shui-lu Rites(Public Initiations of both land and water).The Buddhist paintings for those rites are called Shui-Lu painting, Normally found placed in Dharmsala when a rite was held, or as wall paintings in the amphibious temple. In Korea, they called those Buddhist paintings as "Nectar Ritual". Nowadays, most of these Chinese Buddhist paintings exist in scrolls, wall paintings,and wood prints. Supported by government,also as a mainstream that time, Buddhism became so popular. Financially aided by both officials and civilians, Buddhist rites were held frequently,in fact, so frequently that people even built halls to apply those paintings with certain themes on the wall. That’s how they could make it till today. Nectar Ritual stepped on stage around the middle of the Korean AGE, mainly used during the rites consoling the deaths, like:the Rites of Forty-nine Days, the festival of Hungry Ghosts, the Water and Land Assembly, and the Spirit Vulture Peak Rite, they were the Buddhist paintings of a ceremony. A tipical korean temple structure for the rites consists three parts:the upward, the middle and the downward, or as the front, left and right. The Nectar Ritual are placed mostly at the downward part. Differed from ordinary buddhist paintings, Nectar Ritual describes the everyday lives of the civilians that a Buddhist rite would console. The composition of the Nectar Ritual always applys in three layers:Buddhas at the top, rites for taras by monks in the middle,and lives in six divisions of Karma at the bottom. The rites paintings from China and Korea shares the same origin, in spite of the introduction finds its way back to China, Korean Nectar Ritual took influences of local politics, social hehaviors, cultural differences,national customs and financial situations, which make Korean one has differences and connections as well in structures, patterns, contents and styles.更多还原