供奉与表达——傣族南传佛教艺术与“赕”的关系解析

【作者】 田玉玲；

【导师】 黄泽；

【作者基本信息】 云南大学 ， 中国少数民族艺术， 2010， 博士

【摘要】 傣族南传佛教艺术主要包括佛教文学、建筑、雕塑、绘画、民族民间工艺与音乐、舞蹈、戏剧等几个大类,具有突出的民间性、地方性色彩。傣族南传佛教艺术的这种独特风貌,与“赕”有密切关系。“赕”是佛教十波罗蜜(亦称六度)之一,意为布施、供奉、施舍,是以供养佛教三宝为中心的宗教实践活动。经过长期的地方化、民族化,傣族的赕佛活动已经吸纳了大量的傣族民间民俗活动,一部分大型赕佛活动还转化成为重要的节日庆典,衍生出多元宗教与社会功能。在这个进程中,“赕”与傣族南传佛教艺术活动密切结盟,相互促进,共同发展,成为影响和推动傣族南传佛教艺术发展的核心要素。二者的结盟关系也因此成为研究傣族南传佛教艺术的重要线索。本文在对傣族南传佛教艺术及其“赕”主题作品进行整体把握的基础上,以“赕”作为傣族南传佛教艺术研究的一个核心要素,从艺术活动的起点——创作动机出发,通过追溯艺术活动的整个脉络：艺术创作——艺术作品——艺术的传播与接受,层层剖析“赕”与傣族南传佛教艺术的密切关联,在鲜活立体的宗教文化生态中,对傣族南传佛教艺术进行全方位的展示与解析。当然,这种解析必然要建立在对“赕”的宗教内涵、宗教地位及其本土化的全面观照的基础之上,以确保下文对二者结盟关系的探讨不会变成空中楼阁。本文分为三个板块,第一板块即第一、二章,首先展示傣族南传佛教艺术的全貌,介绍傣族南传佛教艺术中大量存在的以“赕”为主题进行创作的艺术作品,凸显“赕”主题在傣族南传佛教艺术中的重要地位。第二板块即第三、四章,挖掘“赕”的宗教内涵,认识赕佛活动在南传佛教中的重要地位,并对赕佛活动在傣族地区的本土化及其现状、功能进行全面介绍,为下文的解析奠定基础。第三板块即第五、六章。第五章通过追溯傣族南传佛教艺术活动的全过程,剖析“赕”对傣族南传佛教艺术活动的影响和参与,深化对傣族南传佛教艺术及其风格的理解。本文认为,“赕”是傣族南传佛教艺术创作的根本动机所在,全面主导着傣族南传佛教艺术的创作活动；赕佛活动使艺术作品获得了神圣的身份,得以跻身佛教艺术殿堂。傣族的赕佛传统也直接影响并塑造了傣族南传佛教艺术的独特风格,并全面推动了傣族南传佛教艺术的传播与接受。在此基础上,第六章更进一步解析和阐释二者的特殊关系——结盟关系,从宗教与社会层面深化对傣族南传佛教艺术的研究：二者结盟的原因在于“赕”是沟通僧俗的上佳桥梁媒介,而佛教艺术则是僧侣频繁使用的传教工具,南传佛教使二者结盟的根本目标就是推动南传佛教的传播与发展。这种结盟经历了三个阶段,由局部的有限联合逐步发展成为全面的结盟互助、,并最终溢出了南传佛教本身的边界,把南传佛教及其艺术活动扩大到傣族日常世俗生活领域,加深了南传佛教对傣族日常世俗生活的影响,也促进了傣族传统文化对南传佛教的浸润,不断推进傣族佛教化、佛教傣族化。二者结盟的不断深化,不仅有效促进了南传佛教在傣族地区的全面传播与发展,促进了傣族南传佛教艺术的全面发展,也同时推动傣族民间艺术乃至傣族传统文化的全面发展。更多还原

【Abstract】 Ethnic Dai’s Southern Buddhism art is composed of literature, architecture, sculpture, painting, folk crafts, music, dancing, and drama etc. which are full of outstanding folk and local features. This unique style and feature has close relationships with "dana"."Dana" is one of the "six perfections" of Buddhism referring to the religious practices of donating, offering, and bestowing to the "three jewels". These exercises have absorbed a lot of ethnic Dai’s folk customs during the long-term of localization, and also some of the "dana" activities have changed to important ethnic festival celebrations, and thus derived quite a lot of religious and social functions. During this process, "dana" has allied with Buddhism art closely. They promote each other and develop together all the time and have become the key element to push forward the development of Dai’s Southern Buddhism art. This ally has therefore become one of the important clues for studies on Dai’s southern Buddhism art.On the basis of thoroughly maintaining the substance of Dai’s southern Buddhism art and works of "dana" subject, this thesis tries to display an all-round presentation and analyzing on Dai’s southern Buddhism art, by’ taking "dana" as the core element, the motive of art creation as the starting point, and by tracing the whole process of the art activities of art creation---art works---transmission, and analyzing the close relationships between "dana" and Dai’s southern Buddhism art. Of course this analysis shall be made on the basis of corresponding "dana" with its religious connotation and status, and of its localization to be sure that the analyzing stands on a solid basis.This thesis composes three parts. Chapter one and two as the first part, displays a general view of Dai’s southern Buddhism art and also introduces "dana" art works which commonly exist in Southern Buddhism art, to emphasize the important position of the art subject on "dana" in the whole Southern Buddhism art. Chapter three and four, part two, focuses on the religious connotation of "dana", and study its localization and present situation. Part three, chapter five and six deeply analyzes the influences and participation of "dana" in Dai’s Southern Buddhism to strengthen the understanding on this unique art style. This thesis holds that, "dana" is the fundamental motive of the creation of Dai’s Southern Buddhism art, dominating the whole creative activities of which; the activities of "dana" have bestowed the art works holy status and thus been able to be listed as the Buddhism art, and finally promoted the transmission and acceptation of Southern Buddhism art in Dai area, and also have helped the formation of the unique style of Dai’s Southern Buddhism art. Chapter six, in condition of the above, further expounds the special allied relationships of the two and therefore deepens the studies on Dai’s Buddhism art in terms of religious and social perspectives. The thesis believes that, the reason for the two to be allied is that "dana" is the most ideal medium to communicate the sangha and the laity; and the Buddhism art is the best mean to preach the religious doctrine; for the aim of the Buddhism transmission and development, the Southern Buddhism has been inclined to realize the ally of the two. The ally has experienced three stages in the process of becoming allied:from partial and limited ally gradually to comprehensive ally, and finally overflows the boundary of Southern Buddhism, to promote the Buddhism activities to the areas of the secular life of Dai people, and thus deepened the influence on Dai people’s daily life, and brought abut the thorough localization of Buddhism. The deepening of this ally, has not only effectively realized the comprehensive transmission and development of Buddhism in Dai area, but also brought about the all-round prosperity of Buddhism art and helped the development of Dai’s folk art and even the whole traditional culture of Dai.更多还原