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首页> 外文学位 >Ch'en Hung-shou's 'Elegant Gathering': A late Ming pictorial manifesto of Pure Land Buddhism.
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Ch'en Hung-shou's 'Elegant Gathering': A late Ming pictorial manifesto of Pure Land Buddhism.

机译：陈鸿寿的《文雅集》：明末佛教净土画集。

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摘要

Ch'en Hung-shou's Elegant Gathering (Ya-chi t'u), a handscroll in the Shanghai Museum of Art, can be read as a pictorial manifesto of one of the most significant cultural developments of the late-Ming period: the widespread acceptance of Pure Land Buddhism among intellectuals. The scroll presents a monk and eight scholars, including the Kung-an School literary theorists Yuan Hung-tao (1568-1610) and his brother Yuan Tsung-tao (1560-1600), gathered around a figure of a Buddhist deity in a garden setting.; The subject of this picture has been identified as a meeting of the Grape Society, a club organized by the Yuan brothers in Beijing in the last years of the sixteenth century. In this dissertation, however, I argue that this work neither represents the Grape Society nor falls within the familiar category of literary meeting pictures. Rather, it treats a theme with special meaning for the artist and patron of the scroll as well as for the individuals portrayed, namely a shared belief in Pure Land Buddhism. Collectively, they represent the two generations of the lay Buddhist movement led by the two Pure Land masters, Chu-hung (1535-1615) and Chih-hsu (1599-1655).; The composition can be linked to the most famous painting inspired by a Pure Land gathering of laymen and monks, The Lotus Society, by the Northern Sung Master Li Kung-lin (ca. 1041-1106). A more immediate source of inspiration, however, was undoubtedly Yuan Hung-tao's Hsi-fang ho-lun (Comprehensive Commentary on the Western Paradise).; Investigation of Ch'en Hung-shou's other Buddhist paintings further elucidates the artist's embrace of Buddhist teaching in art. Often shared by these works is the concept of nonduality, the Buddhist teaching most attracted the late-Ming intelligentsia. These works not only display the intermingling of literati and Buddhist activities as the daily experience of a late-Ming intellectual but also visualize the prevalent intellectual intercourse between the late-Ming Buddhist masters and lay Buddhist literati.; Ch'en Hung-shou's Buddhist paintings, as a whole, is representative of the cultural consequences of late-Ming revival of Buddhism. They offer us examples of the parallel developments in art and thought of late-Ming China. The concurrent secular and Buddhist traditions as well as the incorporation of Confucian elements into Buddhist paintings evidence the thorough sinicization of Buddhism by the late Ming. Elegant Gathering, in addition to expressing the concept of nonduality, identifies the Pure Land practice as a way to attain the ultimate goal. It can be read as a pictorial document that highlights Yuan Hung-tao's significance as a lay Buddhist in late-Ming history and affirms his contribution in the propagation of Pure Land Buddhism through Hsi-fang ho-lun. At the same time, it can be perceived as a pictorial manifesto in which Ch'en Hung-shou and the patron advocated their Pure Land beliefs on behalf of Yuan Hung-tao and in which they voiced their full agreement with Yuan Hung-tao's Buddhist beliefs addressed in the book. In a broader sense, this handscroll can be seen as a microcosm which represents the late-Ming lay Buddhist movement and signifies the overwhelming popularity of Pure Land Buddhism among Chinese intellectuals.
机译：上海艺术博物馆的《钱鸿寿的典雅集会》可以看作是明末最重要的文化发展之一的绘画宣言：知识分子接受净土佛教。画卷中有一位和尚和八位学者，其中包括公安派文学理论家袁洪涛（1568-1610）和他的兄弟袁宗涛（1560-1600），他们聚集在花园里的一位佛教神像周围。设置。;这张照片的主题被确定为葡萄协会的一次会议，该协会是袁兄弟在十六世纪最后几年在北京组织的一个俱乐部。但是，在本文中，我认为该作品既不代表葡萄协会，也不属于文学会议图片的熟悉范畴。相反，它对待卷轴的艺术家和赞助商以及所描绘的个人具有特殊意义的主题，即对净土佛教的共同信仰。它们共同代表了由两位净土大师朱鸿（1535-1615）和智熙（1599-1655）领导的佛教徒运动的两代人。该构图可以与最著名的绘画联系起来，这幅绘画是受北宋大师李公林（ca. 1041-1106）的纯净的外行和尚聚会所启发的，莲花会。然而，毫无疑问，更直接的灵感来源是袁洪涛的《西方浩伦》（《西方天堂综合评论》）。对陈鸿寿其他佛教绘画的研究进一步阐明了艺术家对佛教教学的热爱。这些作品通常都带有非二重性的概念，佛教教义最吸引了明末的知识分子。这些作品不仅展示了晚清知识分子日常活动中的文人活动与佛教活动的融合，而且还形象化了晚明佛教大师与外行佛教文人之间普遍的知识交流。整体而言，陈鸿寿的佛教绘画代表了明末佛教复兴的文化后果。它们为我们提供了晚明中国艺术与思想平行发展的例子。世俗和佛教传统并存，以及儒家元素融入佛教绘画中，证明了明末佛教的彻底中国化。优雅聚会不仅表达了非二重性的概念，而且将“净土”实践确定为实现最终目标的一种方式。它可以被看作是一部绘画作品，突显了袁洪涛在明末清初作为外行佛教徒的重要性，并肯定了他对通过西坊后轮传播净土佛教的贡献。同时，它可以看作是一种绘画宣言，其中陈洪寿和赞助人代表袁洪涛倡导了他们的净土信仰，并表达了与袁洪涛佛教徒的完全同意。书中提到的信念。从更广泛的意义上说，这种手卷可以看作是代表晚明佛教运动的缩影，它标志着净土佛教在中国知识分子中的压倒性普及。

著录项

  • 作者

    Tsai, Hsing-li.;

  • 作者单位

    University of Kansas.;

  • 授予单位 University of Kansas.;
  • 学科 Religion General.; History Asia Australia and Oceania.; Art History.
  • 学位 Ph.D.
  • 年度 1997
  • 页码 274 p.
  • 总页数 274
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 宗教;世界史;艺术史、艺术思想史;
  • 关键词

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