| 释教第一次传入到华夏汉地是在东汉初年，从印度或西域来的僧侣为了流传释教，韩语毕业论文，运用其时汉地风行的黄老思惟、方术等，而且融会了释教所排挤的印度婆罗门教或许其它原始宗教所运用的咒语。其时的人们接收释教，把其看成求福或挡灾的手腕，与黄老并存。至东汉末年，释教逐步开端作用到社会各个阶级。南北朝时代，韩语毕业论文，萧梁武帝初次举办水陆法会。水陆法会所运用的佛画称为水陆画，平日在修想法会时挂在法堂，或是以壁画情势绘于寺庙内的水陆殿。在韩国的水陆法会中运用的佛画称为甘露帧。中国现存水陆画的情势有卷轴水陆画、水陆壁画、水陆版画等。在中国，释教运动常常获得当局支撑，而且释教崇奉也是社会宗教崇奉的主流，在平易近间广为风行，可以获得来自官方和平易近间的财力支撑，在如许的配景下，有着年夜量的佛事运动，以致于涌现将水陆画内容固定上去便利修设水陆法会典礼的水陆堂，将水陆画绘制到法堂墙壁之上，得以保留至今。甘露帧画从朝鲜时期中期今后开端涌现，在荐度亡魂的四十九斋、水陆斋、豫修斋、盂兰盆斋等法会中运用，为修斋典礼上用的佛画。韩国寺庙的法堂内构造分红上段、中段、下段，又分为正面、阁下，个中甘露帧画为置于下真个佛画，它与供奉佛、菩萨的通俗佛画纷歧样，描写了荐度对象的老庶民生涯。甘露帧的构图全体上分为三段，画面上半部门描写各色的佛、菩萨像；中央部门有僧侣给饿鬼举行施食典礼、作法等；最下部门有荐度对象的六道众生场景。中韩水陆画一脉相承，虽然是从中国传入韩国，然则因为政治、社会、人文、风气、经济等方面的作用，使得韩国甘露帧在形制、款式、内容、作风上与中国水陆画既有接洽又有差别。 Abstract: Buddhism first introduced to Chinese is in the early years of the Eastern Han Dynasty, from India and the western regions to the monks to spread Buddhism, the application in the meantime Han popular yellow Laosi however, astrology etc., and the fusion of Buddhism which is pushed aside by Indian Brahmanism perhaps other primitive religion used the spell. When people receive Buddhism, it is regarded as a blessing for or block a disaster of the wrist, and coexistence of Huang lao. To the Eastern Han Dynasty, Buddhism gradually began to affect every social class. The northern and Southern Dynasties, Liang Wu first held surface law. The application of Buddhist painting surface law club called water painting, normally in the repair idea hangs in the hall, or with murals painted in the situation inside the temple and the temple. In the application of law in South Korea and Buddhist paintings called manna frame. The situation is China existing landscape painting painting, murals, and scrolls and amphibious engravings etc.. In China, the Buddhist movement often get government support and Buddhism belief and social and religious beliefs of the mainstream, in plain nearly wide for popularity, can be obtained from official and plain near the financial support, under such background, Nianye amount of Buddhist Movement, that will come to the fore paintings Shuilu fixed content up convenient fix a land law will water land of ceremony hall, the Shuilu paintings drawn to the hall walls and preserved so far. Manna frame picture emerges from North Korea during the mid will start, in 49 vegetarian recommended degree of the afterlife, amphibious Zhai, Henan repair Zhai, bon Chai, Zhai Xiu ceremony with Buddha picture. Korea temple hall structure bonus upper, middle and lower segment, positive, sir, medium nectar frame painting is placed under a true Buddhist paintings, it with the worship of Buddha and Bodhisattva popular Buddhist painting divergent like, a description of the recommended the old palace career. Dew frame composition as a whole is divided into three sections, half Department on the picture to describe a variety of Buddhas and Bodhisattvas like; monks to the hungry at soup kitchens ceremony, practices and other central government departments; the Department has recommended the six beings scene. China and South Korea Shuilu paintings come down in one continuous line, although is introduced from China to Korea. However because of the influence of political, social, cultural, customs and economic, making South Korea nectar frame in shape, style, content, style and Chinese paintings Shuilu both contact and differences. 目录: 摘要 3-4 ABSTRACT 4 绪论 8-15 一. 探讨对象 8-9 二. 探讨近况 9-13 三. 探讨目的 13 四. 探讨措施 13-15 第一章 水陆画缘起与流变 15-27 第一节 水陆法会的起源 15-18 第二节 中国水陆画的产生与发展 18-27 第二章 韩国水陆法会与甘露帧 27-50 第一节 韩国佛教与韩国水陆法会 27-39 第二节 韩国甘露帧概述 39-50 第三章 中韩水陆画的形制探讨 50-65 第一节 中国水陆画的形制与内容 50-61 第二节 韩国甘露帧的形制与内容 61-65 第四章 中韩水陆画的图像探讨 65-98 第一节 中韩水陆画的中心神祗 65-72 第二节 中韩水陆画的引路菩萨图像 72-78 第三节 中韩水陆画的饿鬼图像 78-85 第四节 中韩水陆画的世俗图像 85-98 结论 98-100 参考文献 100-107 附录：图版出处 107-110 作者简介 110-111 后记 111 |
