查詢結果分析
相關文獻
- 出新意於法度之中--寮國近現代的佛教雕像
- Freshwater Gobies of the Genus Rhinogobius from the Mekong Basin in Thailand and Laos, with Descriptions of Three New Species
- 泰國拉瑪三世時期寺院壁畫的中國元素初探--以皇子寺大戒殿壁畫為主
- The Photographic Conditions of Contemporary Thai Art
- 臺灣與東南亞五國產業分工情形之探討
- 華裔泰國人社群之變遷:訪談報告書
- 泰國紡織市場過去、現在與未來
- 符號與學校教育之探討--以雲林縣麥寮國小海豐分校為例
- Visualization of Chromosome-Sized DNA Molecules by using PFGE for Yeasts Isolated from Infectious Fresh Water Prawn (Macrobrachium rosenbergii de Mann) in Taiwan
- 泰國汽車市場概況
頁籤選單縮合
| 題 名 | 出新意於法度之中--寮國近現代的佛教雕像=With Creations within Regulations: Modern Buddhist Statues of Laos |
|---|---|
| 作 者 | 嚴智宏; | 書刊名 | 臺灣國際研究季刊 |
| 卷 期 | 20:2 2024.夏[民113.夏] |
| 頁 次 | 頁153-194 |
| 分類號 | 224.6 |
| 關鍵詞 | 寮國; 佛像; 泰國; 南傳佛教藝術; 東南亞藝術; Laos; Buddhist statue; Thailand; Theravada Buddhist art; Southeast Asian art; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 長期以來,寮國經常被周邊古文明或新強權給輕忽。具體而言,兩千年前中華帝國指其為蠻夷之邦、邊陲之地,並且在名稱上予以損抑,而印度則視之為印度文化藝術的傳揚之地,相鄰的泰國、越南在近代曾將其納為藩屬,法國則將其置於法屬印度支那殖民地裡。在藝術領域上,國際間談論佛教及東南亞藝術時,大都簡單幾筆帶過寮國,甚至予以省略,漠視其存在;在品評寮國雕像時,也往往將其列為周邊國家的「地方版」或附屬品。換言之,寮國長久以來被各國輕視或貶抑。可貴的是,寮國沒有因為外界的貶抑而自我放棄,也沒有因為別國的藐視或忽視而隨波逐流、失去主體。雖然人口不多,地理位置不優越,經濟基礎不雄厚,國運坎坷崎嶇,但寮國堅持在大多數百姓的心靈皈依處(南傳佛教及其藝術)著力,鍥而不捨。畢竟藝術是一個群體展現自我特性、型塑認同的場域;在寮國藝術裡,佛像是主要作品之一。難能的是,縱然位在眾多的先行者之後,但是寮國向不同學派取經,並且奮力開創出自我的風格,其近現代佛像具有不少特點,包括肉髻上的光芒、頭身之比例、雙眉之樣貌、耳朵之造型、手印、手指之長度、衣物裝飾等。這些特點不只有異於大多數國家的佛像,也沒有逾越原始經典所訂的規範,誠可謂出新意於法度之中。 |
| 英文摘要 | For a long time, Laos has been neglected by its neighboring ancient civilizations or new powers. In the field of art, when the international community talks about Buddhist and Asian arts, most of them just briefly mention Laos, or even omit it, ignoring its existence; when Laos' statues are commented on, they are often classified as "local version" or subsidiaries of neighboring countries. In other words, Laos has long been belittled and demeaned by other countries. Despite a small population, a poor geographical position, a weak economic base, and a rough and rugged national history, Laos has persisted in its endeavors in the sphere where the majority of its people's spirits have been converted (i.e., Theravada Buddhism and its arts). Art is a place where a group expresses its thought and shapes its identity, and in the art of Laos, Buddha statues are one of the major works. It is remarkable that, even after so many pioneers, Laos has learned from different art schools and has endeavored to develop its own style. Its modern Buddhist statues are characterized by a number of features, including the shape of radiance over Ushnisha, the proportions of the head and the body, the look of the eyebrows, the shape of the ears, the Mudras, the length of the fingers, and the design and decoration of the clothing. These features are not only different from the Buddhist statues of most countries, but also do not go beyond the regulations set by the original classics; the features can be regarded as creations within the regulations. |
本系統中英文摘要資訊取自各篇刊載內容。