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首页> 外文学位 >The body and the family: Filial piety and Buddhist art in late medieval China.
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The body and the family: Filial piety and Buddhist art in late medieval China.

机译：身体和家庭：中世纪晚期的孝道和佛教艺术。

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This dissertation addresses the problem of cultural translation by investigating the coexistence of filial piety and Buddhist art in representations of the Sutra on Repaying Kindness at Dunhuang. These include the problems of translating religious images from their textual sources, foreign Buddhist images into native Chinese idioms and complex artistic changes into neat academic arguments. Accordingly, Chapter One rethinks the opposition of filial piety and Buddhism in both historical and modern sources through a critique of sinicization as an interpretive model. By demonstrating that filial piety is neither unique to China nor opposed to Buddhism, I reframe the question of how to interpret cultural interaction with the fundamental question of why use cultural interaction at all to interpretat artistic change. Chapter Two charts the development of Sujati narratives as an important component of Sutra on Repaying Kindness paintings at Dunhuang. Depicting a young prince offering his flesh to his starving parents, this image integrates Confucian and Buddhist attitudes toward the body thought to be contradictory, a discrepancy that I explain through the contemporary practice of "cutting the thigh." Chapter Three investigates the early history of cutting the thigh, a filial practice in which children offer their flesh to ailing parents. By examining Buddhist scriptures, Confucian histories, rhetorical essays and archeological evidence, I show that the medieval Chinese discourse on cutting the thigh complicates conventional understandings of filial piety and bodily values even within monolithic categories such as Confucian and Buddhist. Chapter Four analyzes the four other narratives in Sutra on Repaying Kindness paintings. By arguing that the notion of repaying kindness emphasizes the mother and the moral authority of the child, I question standard assumptions of Chinese filial piety as centered on the father and parental prerogatives. Chapter Five situates Sutra on Repaying Kindness paintings into the Dunhuang family caves that contain them. By examining decorative, figural and epigraphic references to the family in these caves, I argue for the construction of a distinctive "family space" that idealizes private life, ancestral history and contemporary viewing practices.
机译：本文通过考察敦煌《善经》中的孝道与佛教艺术并存来解决文化翻译问题。其中包括以下问题：将宗教图像从其文字来源中转换出来；将外国佛教图像转换为中国本土习语；以及将复杂的艺术变化转换为简洁的学术论据。因此，第一章通过对中国化的批评作为一种解释模型，在历史和现代资源中重新思考了孝道和佛教的对立。通过证明孝道不仅是中国独有的，也不是佛教的反对派，我重新阐述了如何解释文化互动的问题，以及为什么根本用文化互动来解释艺术变化的基本问题。第二章阐述了Sujati叙事的发展，作为Sutra的《偿还敦煌画善举》的重要组成部分。这幅画描绘了一位年轻的王子，向饥饿的父母提供肉体，融合了儒家和佛教徒对被认为是矛盾的身体的态度，我通过当代的“割大腿”做法来解释这一差异。第三章探讨了割大腿的早期历史，这是一种孝顺的做法，孩子们向生病的父母提供肉。通过研究佛经，儒家的历史，修辞手法和考古学证据，我发现中世纪中国人关于​​割断大腿的论述使传统的孝道和身体价值观念变得更加复杂，甚至在儒家和佛教徒等单一类别中也是如此。第四章分析《佛经》中有关善待善画的其他四个叙述。通过争论报答善意的概念强调了母亲和孩子的道德权威，我质疑以父亲和父母的特权为中心的中国孝道的标准假设。第五章将《讲善报》画进包含它们的敦煌家窟中。通过研究在这些洞穴中对家庭的装饰，人物和碑志的引用，我主张构造一个独特的“家庭空间”，以理想化私人生活，祖传历史和当代观赏实践。

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