【作者】 彭肜；

【导师】 陈兵；

【作者基本信息】 四川大学 ， 宗教学， 2002， 博士

【摘要】 “中国佛教艺术研究”属于宗教与艺术的跨学科研究领域，着重研究中国佛教与艺术的相互关系及中国佛教艺术的基本特征。无论从传统文化研究、宗教学研究还是从艺术学研究等各方面来看，该选题都具有重要的学术价值。 “中国佛教艺术研究”是一门边缘性、综合性的新兴学科，国内外研究已经有了相当的成果，但也存在着一些问题。现有文献表明，在佛教艺术的研究领域中，人们多满足于罗列某些艺术门类当中的佛教题材、类型和现象，少有从学科意识的、高度探索佛教艺术研究的概念、目的、特点和精神实质，未能构建出“中国佛教艺术研究”这一具有独立学科性质的研究领域。 本博士论文的基本内容与创新价值主要表现在以下三个方面。 首先，论文的融通性。论文将佛教教理教义与佛教审美文化及其艺术作品贯穿起来进行融通性研究，力图促进中国佛教艺术研究向纵深处发展。在过去的中国佛教艺术研究领域中，人们较少联系佛教教理进行主题学的深度剖析；而在佛教哲学研究中又较少联系具体的佛教艺术作品。本论文力图在这一理性与感性、哲学与美学、理论与实践的交叉地带进行整合。从教理的高度阐释佛教艺术门类的基本特征，又从艺术审美实践中抽象出理性要素证明佛教义理。从本质上讲，无论怎样强调其审美特征，佛教艺术仍然是一种宗教性的文化现象。佛教艺术的根本目的主要是宣扬、传达其宗教观念和行为方式，其它的外在装饰和风格特征都是为此基本目的服务的手段和工具。在艺术创造和欣赏的审美过程中，佛教艺术无论为美学理论提供了多少可资借鉴的理论成果，但从实质上看，佛教的美学思想和审美方式论仍然主要是其宗教认识活动和心理过程的理论总结。本论文通过这种融通性研究有力地揭示出了佛教艺术“宗教性”、“程式化”和“象征性”等基本特丑。 其次，论文多维视野的比较方法。中国佛教艺术研究向来以形态的方法分解为绘画。雕塑、建筑、文学等多种门类，佛教艺术的分类研究及其历史著述一直是这个研究领域引人注目的一个现象。近年来。这些佛教艺术诸形态的分类研究发展很快，取得了相当的学术成就，具有其它学科不可代替的学术价值。然而，正如本文开始所着重指出的，这些门类研究也有其弊端，这就是未能从总体上揭示佛教艺术的基本特点，比如佛教艺术的目的怎样？有哪些基本特征和主题？它们对审美活动基本性质有何揭示？等等。本论文力图跨越这些人为的学术界限，将佛教艺术诸部类融合为一体，采用跨学科、跨领域的多维视野的比较方祛探索佛教艺术的整体特征。这种方法对改变中国佛教艺术史研究中分科过细的状况有一定的参考价值。 最后，论文以主题研究、范畴研究和形态研究为三个支柱，基本勾勒出中国佛教艺术研究的学术领域。中国佛教艺术研究的最终目标是构建出“佛教艺术学”这一门新兴学科。从佛学研究的整体构成看，“佛教艺术学”都具有不可替代的地位和作用。对于丰富佛学研究、对于加大佛学在人文社会科学领域中的比重也具有重要意义。更多还原

【Abstract】 The study on Chinese Buddhism Art is a study cross sciences, which puts the stress on the special cultural phenomena formed in the interactions and interrelations between art and Buddhism, hence it is of great importance in the study on traditional cultures, or that of arts, or the one of religions.The study on Buddhism Art is a marginal and comprehensive new-rising one, and the study of which at home and abroad has had some achievement available yet with something unsolved, as in such study area, known from the given documents, many just are satisfied in ranking many Buddhist themes or categories, or atmosphere of such kind, doing little in exploring the concepts, characteristics, and spiritual essence of the study on Buddhism Art with no model for the Study.This paper has its basic content and creative value in such three aspects as follows.First comes the perforation of the paper, which just makes the Buddhist tenet, Buddhist tasting culture put together as well as its art works so as to, promote Chinese Buddhism Art Study to go through in depth. Just from the study in the past, we could only see that there i’s few in theme with a good connection with Buddhist tenet, while in the Buddhist philosophy study there seems to be less connection with concrete Buddhist art works. Thus, the author just tries her best to make a good integration between the intercross of the logos and the sensibility, of philosophy and esthetics, and of theory and practice, which tries to outline the essential feathers of the Buddhist art categories from the height of tenets, and to demonstrate Buddhist tenets abstracting the logo from the art tasting practice. No matter how much the tasting feature has beenemphasized, Buddhist art, in nature, still remains only a fact ’of culture with religion’s essence, and its aim is at transmitting the religious ideas and promoting its religious performances with some other outside decorations and styles as the tools to serve the goals. Hence in the tasting process of art creation and enjoyment, whatever theoretic completion is provided for the aesthetics byBuddhist art, Buddhism’s art and its tasting process, in essence, is the theoreticsummary on its religious realization and mentality process. This paper reveals such essential feature through a through study on the perforation.Then the comparison method with multiphase eye sides has been used. As the study has been conventionally divided into different categories of literature, painting, music, and construction in form, how to divide its kinds is an interesting item in the study. In recent years, there has been a great development in such study with marvelous completions. Yet there still remains some shortness - that is, little has been done on the analysis on its nature, say, what is the goal of such an art? What its themes? What has been explored in the tasting process? And the very paper tries to overcome such man-made academic limitations, to explore the basic characteristics on the whole through the way of integration with the comprehensive comparison, which is a good test of great value in search for the study on the history of the categories of Buddhist art study.The last but not the least is that the very paper takes the methods of themes’ study, the fields study, and the formation study as three pillars, which outlines the total Chinese academic field for Buddhist art study. The final goal for such a study is to construct The-new and through science of Buddhism’s art, which has an un-substitutive effect in the total study on Buddhism and has significance in enriching such a study.更多还原