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題 名 | 如意考--歷代如意的使用與發展 |
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作 者 | 陳夏生; | 書刊名 | 故宮學術季刊 |
卷 期 | 12:2 民83.冬 |
頁 次 | 頁21-79 |
分類號 | 796.9 |
關鍵詞 | 如意; 吉祥如意; 拾遺記; 大藏經; 四分律; 文殊菩薩; Ju-i scepter; Chi-hsiang Ju-i; Shi-i Chi; The Tripitaka; Dharmagupta-vinaya; Well-Shu; |
語 文 | 中文(Chinese) |
中文摘要 | 如意是我國固有的文物,與外來的佛教僧侶日用器具的形制不謀而合。六朝時期,人們除了執握如意作各種即興的應用外,並藉造作文殊菩薩執如意的形像,賦予如意象徵性功能,導致後代如意延伸出多元化的使用方式。 在形制方面,狀為微屈手掌式的早期如意,柄平直而前端較寬。自唐代開始,由於如意的功能和使用族群的改變,其形狀演變以美觀和象徵意義為依歸,這型如意就是本文探討的主題。至於可供抓癢的原始形狀的如意,後來又有別名為癢和子、孝順、不求人、轂轆子等,其形制至今無大變化,這兩型如意是並行不悖的。 |
英文摘要 | While it very much resembles one of the most indispensable instruments of Indian Buddhism, the ju-i scepter is Chinese in origin. During the Six Dynesties, the implement was used on various occasions; yet, the fect that the deity Wen-shu was portrayed in Buddhist iconography of the time as holding the ju-i scepter is truly significant, as its symbolic connotation had laid the groundwork for the diversification of the scepter's functions in later periods. The early ju-i scepter is marked by the slightly curved hand-shaped headpiece and the slender but straight shaft, which widens in the area where it joins the handle. Though the iu-i scepter had since the T'ang Dynasty been put to use in various circumstances and had enjoyed popularity among different groups of patrons, the principal considerations in the design of the implement had been those of aesthetics and symbolism. Paralleling this line of development in the history of the instrument is the continued presence of the more primitive ju-i scepter, intended solely for scratching the back. It is worth noting that no major modification has been evidenced in its form, and that it has been attached with many interesting callings, such as Yang Ho Tzu, Hsiao Shun, Pu Ch'iu Jen, and Ku Lu Tzu. |
本系統中英文摘要資訊取自各篇刊載內容。