頁籤選單縮合
題 名 | 東傳韓國地獄十王圖研究--圖像特徵與比較=A Study on the "Hell Arts"--A Comparison of Their Origins in China and Transformed Styles in Korea |
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作 者 | 陳明華; | 書刊名 | 臺北市立師範學院學報 |
卷 期 | 28 1997.06[民86.06] |
頁 次 | 頁375-398 |
分類號 | 224.5 |
關鍵詞 | 地獄圖; 十王信仰; 十王圖; 佛說十王經; |
語 文 | 中文(Chinese) |
中文摘要 | 本論文主要探討中國唐初出現的十王圖,在東傳韓國以後,如何發展形成不同的 圖式與風格;以及 15 世紀之後,韓國十王圖在美術史上,圖式的轉型與風格特徵,和如何 解讀社會道德習俗涵義的關係。特別是透過文化的傳播交流,中、韓、日十王圖圖像所產生 風格差異的比較研究。 |
英文摘要 | The intention of this thesis is to probe into the arts of the 10 Scenes of Hell, a Buddhist art tradition which appeared in late Tang Dynasy (618-907) China. From China, these arts were transmitted to Korea and Japan, where they have been developed and transformed into various forms and styles for nearly 15 centuries. This transformation bears specific significance and position in the arts. This thesis investigates the importance of these key points. And is summarized as follows: 1.The thesis is based on the perspective that religions and folklore have been assimilated, taking on national and ethical characteristics. In Korea, the Hell Arts have better reflected the needs of the needs of the times and better transmitted the message through religious ceremonies. In terms of criticism of daily life and social mores, the Korean versions bave also been less critical than China's Hell Arts, which appeared during the Ming and Ching dynasties, and which ruthlessly condemned the prevailing social phenomena of those periods. 2.While the Hill Arts have played a very significant role in the Judgment Hall in temple compounds, the Hell Arts in Korea, in comparison to those in China, have more faithfully preserved the original Buddhist doctrines. Development of the Hell Arts in China has been more diversified and omnidirectional in attributes. 3.In terms of aesthetics and recognition of materials adopted for painting, the Hell Arts of Korea have been transformed from initial elegance into bold strokes of formal sketches, and the dominating hues (as in most Korean temple art) are red and green - the traditional colors of Taoism. As a results, the Hell Arts embody a great deal of both harmony and charm. Like a stone cast into the water, the Hell Arts originated in China and gradually rippled outward into an eventual calmness. Once arriving in Korea and Japan. nevertheless, the Hell Arts gained their own local momentum again by being absorbed into indigenous culture. As a result, like Buddhism itself, these art forms absorbed, nourished and flourished into new dimensions. Thanks to this eastward transmission of the Hell Arts, we have been guided into different orientations of thinking and, in turn, have been able to discover the very attraction and substance of the traditional cultures of various nations. |
本系統中英文摘要資訊取自各篇刊載內容。