外域形制的本土表达--真觉寺金刚宝座塔的图像秩序与意义塑造  

Localising a Foreign Form:Image Order and the Shaping of the Meaning in the Vajrāsanatype Stūpa at Zhenjue Monastery

作　　者：陈捷[1] 张昕[2] Chen Jie;Zhang Xin(School of Humanities,Central Academy of Fine Arts,Beijing 100102;Beijing Engineering Research Centre on Historic Bui lding Conservation,Beijing University of Technology,Beijing 100124)

机构地区：[1]中央美术学院人文学院,北京100102 [2]北京工业大学北京市历史建筑保护工程技术研究中心,北京100124

出　　处：《建筑遗产》2020年第4期65-77,共13页Heritage Architecture

摘　　要：真觉寺金刚宝座塔源自印度,成于中土,具有突出的文化交融特色。文章通过考察真觉寺塔的建筑形制、图像秩序与空间意义塑造之间的整体性关联,特别是梵文陀罗尼与五方佛图像的空间秩序问题,分析了真觉寺塔的本土化表达途径。透过以释迦佛与五方佛意义塑造为核心的“混合”特征和以汉地佛寺空间内容与秩序为关键的“置换”现象,分析了明代早、中期设计者以外来建筑形制为基础,通过图像与空间的系统化组织,重塑建筑造型和空间意义的过程。由此亦梳理了外来元素与既有信仰、习俗、审美碰撞博弈,最终融为一体的现象。The Vajrāsana-type Stūpa at Zhenjue Monastery,which originated from India and was built in Beijing,bears conspicuous multicultural characteristics.This article analyses the localisation approach of the Stūpa through its holistic correlations between the architectural form,image order and spatial meaning,especially the spatial order of the Sanskrit Dhāraṇī and the image of the Pañca Dhyāni-Buddhas.Through the‘mixing’feature centred on the shaping of the meaning ofŚākyamuni and the Pañca Dhyāni-Buddhas,as well as the‘replacement’feature based on the spatial content and order of Han Buddhist Monastery,this article further analyses the process of the Stūpa’s rebuilding of both the architectural form and the spatial meaning based on a foreign architectural form and through the systematic organisation of image and space by the designers of the early and the middle Ming Dynasty.Finally,how foreign elements collided with the existing beliefs,customs and aesthetics,and fnally merged into an integral whole is re-examined.

关 键 词：真觉寺 金刚宝座塔 空间 图像 梵文 

分 类 号：TU-098.3[建筑科学—建筑理论] J59[艺术—艺术设计]