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Invertigation and Study of Buddhist painting in the Yi

彝族佛教绘画考察与研究

基本信息

批准号：
63450009
负责人：
KIKUTAKE Jun-ichi
金额：
$ 1.86万
依托单位：
Faculty of Literature, Kyushu University
依托单位国家：
日本
项目类别：
Grant-in-Aid for General Scientific Research (B)
财政年份：
1988
资助国家：
日本
起止时间：
1988 至 1990
项目状态：
已结题

项目摘要

It has long been said that on account of its anti-Buddhist, pro-confuction policies, the Yi Dynasty (1393-1910) product only few works of truly superior Buddhist art. Despite this, over two-hundred samples of Yi Dynasty Buddhist painting survive in Japan today, of which nearly forty bear inscriptions (mei) relating when, by whom, and why they were produced. By examining such works and their inscriptions, we can incentify the major characteristics of Yi Dynasty Buddhist painting.(1) As for the iconology of Buddhist painting of the Yi, there can be divided between works evincing strongly traditional elements dating back to the Koryo period, and those more progressive in style. Furthermore, the more traditionally skewed works are seen to then concentrated in the period up to the early seventeenth century, after which the more progressive works begin to appear.(2) To the extent that we can rely on the inscriptions, the Buddhist painting of the Yi show class distinctions, as they appear to have been produced respectively by the royal family and courtiers, monks, and the class of commoners. There distinctions are manifest in the class differences between painters (academicians), quality of materials used, et cetora.(3) Of the works of inscrived Yi Dynasty Buddhist painting surviving in Japan, the overwhelming majority are items produced before or during the early seventeenth century. For this reasons, it is possibly to conduct research on early yi Buddhist painting in Japan.

长期以来，人们一直认为，由于其反佛教、亲政府的政策，易朝(1393-1910)只生产了几件真正优秀的佛教艺术作品。尽管如此，日本至今仍保存着200多件易代佛画样本，其中近40幅碑文(梅)描述了它们的制作时间、作者和原因。通过对这类作品及其铭文的考察，我们可以激发出彝族佛教绘画的主要特征。(1)彝族佛教绘画的图像学，可以分为高丽时期表现出强烈传统元素的作品，以及风格上较为进步的作品。此外，更传统的歪曲作品被认为集中在17世纪初，之后更进步的作品开始出现。(2)就我们可以依赖的铭文而言，彝族的佛画显示出阶级差异，因为它们似乎分别由皇室和朝臣、僧侣和平民阶层创作。在画家(院士)之间的阶级差异、所用材料的质量等方面都有明显的差异。(3)在日本现存的易代佛画作品中，绝大多数是17世纪初之前或之后的作品。因此，有可能对日本早期彝族佛画进行研究。