佛教本生故事之舍身类壁画初探

发布时间：2018-03-03 16:18

本文选题：本生故事　切入点：舍身　出处：《苏州大学》2014年硕士论文　论文类型：学位论文

【摘要】：在佛教本生故事中，舍身故事是一大题材，本文以舍身题材的壁画为研究对象，从文化美学的角度对其进行了初步研究。本文不仅描述了该类壁画中关于本生、生、死、施舍等艺术形象，而且阐述了其在佛教叙事性壁画中的人文、文化内涵；不仅诠释了舍身题材壁画中动物等有“生命意识”的意象和树、山、石等“非生命意识”的意象之象征符号意识，而且解读了舍身类壁画中蕴藏的朴素之“人大于山”的画风、抑或充盈抑或留白的构图意象，以及红色类比于血液、黑色作为神秘色彩的文化深蕴。通过上述探讨，笔者力图概括佛教本生故事画中的舍身类壁画给中国美学史发展带来的重要历史意义。具体而言，本文指出，本生故事画中的舍身类壁画具有浓厚的审美意蕴，它蕴藏着原始而曲折的关于本生、生与死、施舍的理解。首先，从人文的意义来溯源，本生在佛教中指的是一种直观的轮回，生命不止，生生不息。“生死”与施舍具有深层次的思辨性。一方面，“生死”的问题一直困惑世人，世人无不在苦苦思索；另一方面，施舍则在“生死”之外，昭示出生命真谛。动物类意象作为舍身类题材壁画中的主题意象，蕴含着浓厚的象征意味。虎属于行走于陆地上的兽之图腾崇拜，鹰可归为飞在天空中的翼兽之生命象征，鹿则是佛陀践行舍身及体悟生命超越的精神典范，这三种动物形象都蕴含了丰富的象征意味，暗含着当时人们对于生命的理解和向往。其次，从造型表达上来说，舍身类壁画共包含物象比例、构图、色彩等三元素。一方面，物象比例体现为“人大于山”，它既是一种绘画画风，同时也表达出人们朴素而又原始的审美取向；另一方面，壁画构图的“满”，即物象的密集排列，充盈而完整，既表达出人们内心对于“丰伣”的渴望，同时也隐含着早期画家“畏惧”留白的心理特点。然而，留白却作为一种并行不悖的构图方式，成为在充盈构图基础上后期产生的历史现象；再者，色彩承载着人们内心最原始的表达，具有丰富的表意特征。红色，是血液的涌动，古人用这种鲜活的色彩表达了生命原初的存在；黑色，是生命的“原色”，它蕴含着关乎生死的神秘的超验力量。以红、黑两种主要颜色为代表的色彩崇拜、精神诉求，蕴含了当时人们原始的生命表达与向往。从总体上看，本文认为，佛教本生故事之舍生类壁画蕴含着丰富的审美意蕴。如是题材之壁画的审美意义，，在于它是对佛教中身体和欲望的阐释，对舍身这一行为的象征，以及在轮回之外，皈依净土世界之境界的宣扬。因此，佛教本生故事之舍身题材壁画所构建的意义世界，对中国佛教美学的影响极为深远。
[Abstract]:In the story of Buddhist life, the story of sacrificing one's body is a major theme. This paper, taking the fresco of the subject of sacrifice as the object of study, makes a preliminary study of it from the angle of cultural aesthetics. This paper not only describes this kind of murals about life, life and death. Alms and other artistic images, as well as their humanistic and cultural connotations in Buddhist narrative murals, not only explain the images of animals and trees, mountains, etc. The symbolic and symbolic consciousness of the image of "non-life consciousness", such as stone, and the interpretation of the simple painting style of "man is greater than mountain", or the composition image of filling or white, and the red analogy to the blood, contained in the frescoes. Through the above discussion, the author tries to generalize the important historical significance brought to the development of Chinese aesthetic history by the sacrificial frescoes in the Buddhist Bensheng story painting. Specifically, this paper points out that the frescoes in the life story painting have a strong aesthetic implication, which contains the original and tortuous understanding of life, life and death, alms. First of all, trace back to the source from the meaning of humanism. In Buddhism, Bensheng refers to a kind of intuitive reincarnation, in which life goes on and on. "Life and death" and alms are deeply speculative. On the one hand, the question of "life and death" has always puzzled the world, and the world has been struggling to think; on the other hand, Alms reveal the true meaning of life in addition to "life and death". As the theme image in the murals of sacrificial subject matter, the animal image contains a strong symbolic meaning. The tiger belongs to the totem worship of the beast walking on the land. The eagle can be classified as the life symbol of the winged beast flying in the sky, while the deer is the spiritual model of the Buddha to practice and realize the transcendence of life. These three animal images contain rich symbolic meanings. It implies the understanding and yearning of people for life at that time. Secondly, from the aspect of modeling expression, the fresco of sacrificial body includes three elements: proportion of objects, composition, color, etc. On the one hand, The proportion of objects is embodied as "man is greater than mountain", which is not only a painting style, but also expresses the simple and primitive aesthetic orientation of people; on the other hand, the "fullness" of mural composition, that is, the dense arrangement of objects, is full and complete. It not only expresses people's inner desire for "abundance", but also implies the psychological characteristics of "fear" of the early painters. It has become a historical phenomenon on the basis of filling up and composition. Moreover, color carries the most primitive expression in people's hearts, and it has rich ideographic characteristics. Red, is the flow of blood, The ancients used this vivid color to express the original existence of life; black, the "primary color" of life, contains a mysterious transcendental force related to life and death. It contains the original life expression and yearning of people at that time. On the whole, the author thinks that the living fresco of Buddhist life story contains rich aesthetic implication. It is the interpretation of the body and desire in Buddhism, the symbol of the act of sacrificing one's body, and the preaching of the realm of conversion to the Pure Land outside of reincarnation. It has a profound influence on Chinese Buddhist aesthetics.
【学位授予单位】：苏州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J218.6

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