| Abstract: | 摘 要泉州開元寺是典型的泉州多元宗教融合的載體，故本研究以泉州開元寺的多元宗教文化融合圖像作為研究對象，以歷史研究法進行文獻資料收集分析，結合田野調查法實地考察、搜集泉州地區多元宗教文化的圖像相關資料，通過實地考察、問卷調查、專家訪談、語義測試，確定對開元寺內的東西塔人物圖像、大雄寶殿回廊之建築構件：迦陵頻伽、十六邊柱，以及大殿台基石獅身人面像四個物件進行深入研究，並構建泉州開元寺多元宗教圖像符號系統。從圖像學角度，探究多元宗教融合圖像的三個層次意義，用圖像學解釋泉州開元寺符號的涵義，並用符號學理論分析泉州開元寺多元宗教文化各符號之間的融合。探討泉州開元寺多元宗教文化：即佛教、印度教、古基督教與中國傳統文化融合，用符號學系譜軸與毗鄰軸理論提出多元宗教文化融合的樣式分析符號間存在的關係，體現出泉州地區多元宗教文化融合特有的混搭風格。分析多元宗教文化的藝術特徵，提出開元寺內代表性的建築構件是由中國古代藝術家雕刻的，融多元文化形成的圖像樣式。深度分析泉州開元寺多元宗教文化共融是由佛教、印度教、古基督教與中國傳統文化之融合，主要在寺內東西塔和大雄寶殿之十六邊柱、飛天、獅身人面像建築構件圖像上的體現。本研究主要結果發現歸納如下:一、深刻剖析東西塔圖像內涵，提出：（1）東西塔塔身的160幅人物雕刻與東塔須彌座的39幅佛傳圖其構圖特徵是宋代繪畫的顯著特徵:融入世俗生活。（2）西塔將80尊人物分成三乘，第一乘：羅漢、長者、高僧；第二乘：尊者、大師；第三乘：菩薩。二、大雄寶殿之迦陵頻伽，用圖像學中的三個層次進行剖析其圖像的文化根源，將迦陵頻伽造型與其他宗教圖像進行類比得出：（1）大雄寶殿之迦陵頻伽形象在印度教中原本是布穀鳥的形象，通過陸上絲綢之路傳入中國，在敦煌與道家羽人形象相結合，創造出人頭鳥神的形象，其形象在敦煌壁畫中多次出現。在泉州開元寺中的火焰翅迦陵頻伽中國僅此一處。（2）火焰翅迦陵頻伽的翅膀造型借鑒泉州較為影響的摩尼教（襖教）中的祭司神鳥的翅膀形象，體現出對火的崇拜。（3）大雄寶殿24尊迦陵頻伽中，在規制上，鷹翅迦陵頻伽高於火焰翅迦陵頻伽；大雄寶殿之迦陵頻伽與甘露戒壇之飛天最大區別在於翅膀，甘露戒壇之飛天是沒有翅膀的；另甘露戒壇的飛天手持樂器更加豐富，有南音、泉港北管的樂器。三、用圖像學的理論分析開元寺大雄寶殿後廊之十六邊柱上的雕刻工藝手法與印度現存的同類故事題材的進行對比，發現其融入了中國匠人精湛雕刻工藝、中國繪畫的哲理觀念，人物的圖像塑造上較為內斂，運用中國繪畫構圖上表現形式之大量留白，同時體現印度教文化與中國傳統文化融合性，提出十六邊柱雕刻出自中國古代匠人之手。泉州開元寺多宗教特有的混搭風格源於泉州多元宗教文化的積澱，各種宗教信仰都有其發展的空間，各宗教在泉州和諧共融，這是因為泉州人對文化所持開放態度。在中西方文化、多元宗教文化的影響下，泉州開元寺不僅具有多元宗教圖像符號的運用、表現方式，它更是社會文化發展、經濟貿易繁榮的具體反映。就泉州歷史、宗教文化、人文藝術發展而言，它不僅提供有趣探索的研究方向，並對在地文化的傳播有著深厚的價值。
AbstractQuanzhou Kaiyuan Temple is a typical carrier of Quanzhou's multi-religious integration. Therefore, this study uses Quanzhou Kaiyuan Temple’s multi-religious and cultural fusion images as the research object, uses historical research methods to collect and analyze literature, and combines field investigation methods to conduct field investigations and collect Quanzhou Image-related data of the region’s multi-religious cultures, through field investigations, questionnaires, expert interviews, and semantic testing, to determine the image of figures in the east and west pagodas in Kaiyuan Temple, the architectural components of the corridor of the Daxiong Hall: Jialing Pinga, sixteen side pillars, and The four objects of the sphinx on the foundation stone of the main hall are studied in depth, and a symbolic system of multiple religious images of the Kaiyuan Temple in Quanzhou is constructed. From the perspective of iconology, it explores the three-level meaning of the image of the fusion of multiple religions, uses iconology to explain the meaning of the symbols of Quanzhou Kaiyuan Temple, and uses semiotics to analyze the integration of the symbols of Quanzhou Kaiyuan Temple’s multiple religions. Explore the multi-religious culture of Quanzhou Kaiyuan Temple: the integration of Buddhism, Hinduism, ancient Christianity and traditional Chinese culture, and use semiotic genealogical axis and adjacent axis theory to propose a style of multi-religious cultural integration to analyze the relationship between symbols, reflecting the multi-religion in Quanzhou The unique mix and match style of cultural fusion. Analyzing the artistic characteristics of multi-religious cultures, it is proposed that the representative architectural components in Kaiyuan Temple were carved by ancient Chinese artists, and the image patterns formed by the integration of multiple cultures. In-depth analysis of the multi-religious and cultural integration of Quanzhou Kaiyuan Temple is a fusion of Buddhism, Hinduism, ancient Christianity and traditional Chinese culture, mainly in the east and west pagodas in the temple and the sixteen side pillars, flying sky and sphinx of the temple On the surface.The results of this research are as below.I、Deeply analyze the connotation of the image of the East and West Pagodas, and put forward:（1）The 160 sculptures of figures on the body of the east and west pagodas and the 39 pictures of Buddha in the east pagoda are the distinctive features of Song Dynasty paintings: integration into secular life. （2） The West Tower divides 80 figures into three vehicles. The first vehicle : Arhat, the elder, and the monk; the second vehicle : Venerable, Master; the third vehicle : Bodhisattvat.II、The Jialing Pinga of the Daxiong Hall uses the three levels of iconology to analyze the cultural roots of its image, and compares the shape of Jialing Pinga with other religious images.（1）The image of Jialing Pinga in the Daxiong Palace was originally the image of a cuckoo in Hinduism. It was introduced to China through the land Silk Road and combined with the image of the Taoist Yuren in Dunhuang to create the image of the head bird god. Its image is in the Dunhuang murals. Appeared many times in. The Flame Wing Jia Ling Pin Jia in Kaiyuan Temple in Quanzhou is the only place in China. （2）The shape of the wings of the flame-winged Jialing Pinga draws on the image of the wings of priests and gods in the Manichaeism (Jacket Sect), which is more influential in Quanzhou, and reflects the worship of fire. （3）Among the 24 Jialing Pingyas in the Daxiong Hall, the eagle-winged Jialing Pinga is higher than the flame-winged Jialing Pinga in terms of regulation; the biggest difference between the Jialing Pinga of the Daxiong Hall and the flying of the Ganlu Ordination Altar lies in the wings. In addition, the Feitian hand-held musical instruments of Ganlu Jietan are more abundant, including those of Nanyin and Quangang Beiguan.III、Using iconic theories to analyze the carving techniques on the sixteen side pillars of the back gallery of the Great Hall of Kaiyuan Temple and compare them with the existing similar stories in India, it is found that it incorporates the exquisite carving techniques of Chinese craftsmen and the philosophical concepts of Chinese painting. The imagery is more restrained, using a large amount of white space in the composition of Chinese paintings, and at the same time reflecting the integration of Hindu culture and traditional Chinese culture. It is proposed that the sixteen side pillar carvings were made by ancient Chinese craftsmen.The unique mashup style of Quanzhou religion stems from the accumulation of multiple religious cultures in Quanzhou. Various religious beliefs have their room for development. All religions are harmoniously integrated in Quanzhou. This is because Quanzhou and Minnan people are open to culture. Quanzhou Kaiyuan The temple is a carrier of typical multi-religious integration. Under the influence of Chinese and Western cultures and multi-religious cultures, Quanzhou Kaiyuan Temple not only has the use and expression of multi-religious image symbols, it is also a concrete reflection of social and cultural development and economic and trade prosperity. As far as the development of Quanzhou's history, culture, and art design is concerned, it not only provides interesting directions for exploration, but also has deep value for art design teaching and cultural innovation in southern Fujian. |
