頁籤選單縮合
| 題 名 | 渡唐天神像作品出現的意義=The Significance of Tenjin in China (Toto-tenjin-zo) |
|---|---|
| 作 者 | 潘亮文; | 書刊名 | 史評集刊 |
| 卷 期 | 2 2003.12[民92.12] |
| 頁 次 | 頁35-70 |
| 分類號 | 224.5 |
| 關鍵詞 | 渡唐天神; 佛教藝術; 五山文學; Buddhist art; Tenjin in China; Toto-tenjin-zo; Gozan literature; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 北野天滿天神諸多徵象之一的渡唐天神像,是日本的神、佛融合思潮下的產物,尤其是在禪僧的倡導下,這些作品對室町時代的宗教史與文化史具有特殊的意義。本文試圖從中日佛教藝術交流的角度,透過分析渡唐天神像作品的現況,進行現存作品畫面的觀察,重新檢視渡唐天神畫像的作品內容,同時配合檢視日本史料文突與日本五山文學相關議題的結悲,論考其作品主題出現在中日佛教藝術交流史上的意義。 |
| 英文摘要 | Tenjin in China (Totō-tenjin-zō), one of the forms of the Kitano Tenjin, is a mixture of Shintoism and Buddhism. Especially under the advocate of the Zen masters, those art works provide a significant meaning to Muromati Period both religiously and culturally. This article tries to expound the meaning for the history of the interaction between Chinese and Japanese Buddhist rt that the image of Tenjin in China (Totō-tenjin-zō) has appeared on those artworks as a main character by observing the paintings along with the Japanese historical document and the result of relevant issues in gozan literature. |
本系統中英文摘要資訊取自各篇刊載內容。