论文部分内容阅读
从赵孟頫所画《苏东坡小像》中小小细节——竹杖出发,探讨了在中土已有各种杖式且竹杖在作为传统文化中“凶礼之杖”的情况下,唐宋后为何较多地出现在僧孺图像中的原因。主要探讨了四个方面:第一,蜀地筇竹杖早在西汉已经传入西域,成为佛教从西南丝绸之路传入时向当地人展示神通的法器。第二,竹杖在唐五代的蜀地佛教文化中与禅宗建立了密切关联,从而建立了与文人交通的路径。第三,唐末宋初文人大量入蜀,此时蜀地禅宗的兴盛以及罗汉图像的兴起,都使竹杖作为图像元素进入了佛教语汇,与原有的锡杖并列。第四,筇竹杖和青竹杖分别作为唐代之前佛教和道教文献中的神通器物,在唐五代之后发生了互相渗透的现象,但在图像中,竹杖仍较多地出现在僧孺的身边。
Starting from the small details of “Su Dongpo Small Figure” drawn by Zhao Mengfu - Bamboo sticks, this paper explores that in the case of traditional sticks and sticks of traditional Chinese culture, Tang The reason why Song appeared more in the images of monks and nuns. It mainly discusses four aspects: First, the bamboo sticks of Shu dynasty have been introduced into the Western Regions as early as the Western Han Dynasty and became the instrument for displaying the magical powers to the locals when Buddhism came from the Southwest Silk Road. Second, the bamboo sticks established a close connection with Zen Buddhism in the Shu culture of the Tang and the Five Dynasties, thus establishing a path of communication with literati. Thirdly, the literati went into great numbers in the late Tang Dynasty and the early Song Dynasty. At this time, the flourishing of Zen Buddhism in the Shu area and the rise of the Lohan image all brought the bamboo stick into the Buddhist vocabulary as an image element and juxtaposed with the original tin stick. Fourthly, the bamboo sticks and the bamboo sticks, as the supernatural artifacts in the Buddhist and Taoist literature before the Tang Dynasty, permeated each other after the Tang and the Five Dynasties. However, in the images, bamboo sticks still appear more in the monk’s Around.