題名:十八羅漢的象徵意義與風格分析之研究---以彰化地區為例
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- 資料類型：
- 來源資料庫:學位論文
- 著作者：
- 創作者名稱:石馥綺
- 主題與關鍵字：
- 主要分類:民俗傳說
- 中文關鍵詞:彰化縣
- 中文關鍵詞:十八羅漢
- 中文關鍵詞:象徵意義
- 中文關鍵詞:風格
- 中文關鍵詞:民俗寺廟
- 中文關鍵詞:民間傳說
- 外文關鍵詞:Changhua County
- 外文關鍵詞:18-Lohan
- 外文關鍵詞:symbolic meaning
- 外文關鍵詞:style
- 外文關鍵詞:folk temple
- 描述：
- 頁碼:135
- 中文摘要:在台灣近三百年來的佛教發展，由江浙、閩南地區傳入的十八羅漢像已融合了台灣的民俗信仰，從明鄭、清代、日據時代到民國光復後在彰化地區寺廟中展現出特殊的藝術面貌。本論文之內容，首先探討十八羅漢像的源流與信仰的發展過程，其次是以各尊羅漢像的造型分析所產生的象徵意義，並討論對稱、協調、均衡、同中有異的多變原則，既有獨立的造型，又與其他尊者的相互呼應，最後以四大風格類型來探討二十四家十八羅漢的特色。 透過對彰化二十四家寺廟的考查，希望將現存的十八羅漢造像做一分析與歸納。藉由尊者的造型統計，歸納出一些準則，先以出現次數最多的二十位尊者名稱去歸類，分成四大類意涵來討論，作造型內容的歸類比較，輔以清水岩、虎山岩、柏龍寺對羅漢讚頌的籤詩及偈子，來考察形象的演變，找出隱藏其中俗民們與雕刻師傅的集體意識之形式原則與更深的內在意涵。 接著整理出彰化地區十八羅漢像四類雕塑風格，分析詮釋圖像的風格特色，彰化地區的羅漢造型充滿了豐富的變化，如龍山寺的岩石水波，洞中的動植物，增添了羅漢的神通與自在，更走向民俗化，突顯裝飾趣味，也有受到日治時期巴洛克建築風格影響的，如南瑤宮的佛龕形式，更有裝飾於羅漢身上繁複華麗的衣紋風采，如曇花佛堂與福海宮尊者的衣飾，增添更多的民俗趣味與熱鬧。除了十八羅漢，其週邊的手持物、榜題、佛龕形式與尊者陣勢隊形也有其獨特的風格，再加上供民眾祈願求福的羅漢籤，彰化地區的十八羅漢像可以說充滿了獨特性的風格，加上現代雕塑家的創新作品，十八羅漢像將會繼續傳承下去，展現出民俗藝術融合佛教藝術的新生命。
- 英文摘要:Within the recent 300-year development of Buddhism in Taiwan, the 18-Lohan statues brought in from Jian-zhe and Min-nan Areas in China have been integrated with beliefs of Taiwanese folklore. From Cheng of Min dynasty, Chin dynasty and Japanese occupied era to the recovery of ROC, the temples in Changhua Area have shown their particular art features. The content of the thesis was to explore both the origin and the development of beliefs of 18-Lohan statues and to refer to the symbolic meaning generated from the molding analysis of each Lohan statue, and also to discuss the varied principles of symmetry, coordination, equilibrium and discrepancies among the similarity, which not only had independent molding, but also inter-responded with other statues. Finally, features of 18-Lohan of 24 temples with four major styles were discussed. Through the research on 24 temples in Changhua, the researcher hoped to analyze the existing 18-Lohan statues in order to generalize some standards through the molding census of the Lohan statues. First, the researcher sorted 20 of the most frequently appearing names of Lohan statues out and divided them into four categorized meanings to be discussed and had the molding contents to be compared. Poem-on-slips and Buddha wording praising Lohan at Chinsui Hill, Hushan Hill, Bolung Temple were applied to investigate the development of images and seek for both hidden principles of styles and further implication immerging in the collective consciousness of the folks and those master carvers. Nest, the researcher sorted out four sculpture styles of 18-Lohan statues in Changhua Area and analyzed and interpreted the features and styles of the images. The moldings of Changhua Area were full of abundant varieties, such as the water on the rock and the animals and plants in the cave of Lungshan Temple’s. It reinforced the magic and freedom of Lohan and further inclined to folklore and pleasure of adornment. Some were influenced by the architectural styles of Baroque during the era in Taiwan under Japanese sovereignty, such as the Buddha shrine shape of Nanyao Temple’s. Moreover, there were splendid and elegant clothes dressed up on Lohan statues like the clothing on the Lohans at Tan-hua Buddha Temple and Fu-hai Temple, which even amplified joys and boisterousness of folklore. In addition to the 18 Lohans, their peripheral ornaments like the holdings, the board calligraphy, the shapes of Buddha shrine, the disposition rank of the Lohans and the Lohan bamboo slips for people to make wishes also had their unique styles emerge. 18-Lohan statues in Changhua Area were full of peculiar styles; furthermore, with the innovative sculpture works by the modern carvers, the researcher did believe 18-Lohan statues would keep inheriting to show a new life with folk art merged with Buddha art.
- 出版者：
- 主要出版者:國立彰化師範大學藝術教育研究所
- 出版地:彰化市
- 日期：
- 出版日期:2006
- 語言：
- 語文:中文
- 管理權：
- 典藏單位:無館藏
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