The Mediating Mind: Image, Text, and Ritual in the Cave of Perfect Enlightenment at Baodingshan, Dazu

IF 0.2 1区艺术学 0 ART

ARCHIVES OF ASIAN ART Pub Date : 2018-04-01 DOI:10.1215/00666637-4342420

Phillip E. Bloom

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引用次数: 0

Abstract

abstract:Drawing on the Sutra of Perfect Enlightenment (Yuanjuejing) and repentance liturgies such as Zongmi's Manual for Cultivating Realization in the Place of Practice of the Sutra of Perfect Enlightenment (Yuanjuejing daochang xiuzheng yi), this essay examines the visual program of the Southern Song–dynasty Cave of Perfect Enlightenment (Yuanjuedong) at Baodingshan, Dazu. It argues that the cave serves not as an arena for ritual practice per se but instead presents an idealized representation of such a site. In particular, this essay focuses on the conceptual function of the sculpture of the kneeling bodhisattva in the middle of the cave, a figure that finds no exact counterpart in scriptural sources. Investigating the significance of such figures that mediate between worshippers and their deities in various media in the Song, this essay contends that the kneeling bodhisattva not only enacts perpetual reverence on behalf of absent worshippers but also solicits spectatorial self-identification, enabling viewers to imagine themselves into the representational world of scriptural narrative and liturgical practice constructed in the cave. This essay then interrogates the triangular relationship between illusion, matter, and the mind that is thematized in the cave and in liturgies like that by Zongmi. Engaging with Hans Belting's recent work on image anthropology, this essay concludes by suggesting that the cave, its source texts, and related repentance rituals collectively insist on the fundamental irrelevance of all media save the mind itself. Such a notion points to the need to develop a specifically Buddhist theory of images, media, and minds.

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冥想的心灵:大足宝顶山正悟洞的意象、文字与仪式

文摘：借鉴《圆觉经》和宗密《圆觉道场修证一》等忏悔仪式，考察大足宝顶山南宋圆觉洞的视觉程序。它认为，这个洞穴本身并不是一个仪式练习的场所，而是一个理想化的场所。特别是，本文着重于洞穴中央跪着的观音雕像的概念功能，这是一个在圣经来源中找不到确切对应的人物。本文考察了宋代各种媒介中这种介乎朝拜者与神灵之间的人物形象的意义，认为跪菩萨不仅代表缺席的朝拜者表达永恒的崇敬之情，使观众能够想象自己进入洞穴中构建的圣经叙事和礼拜仪式实践的具象世界。然后，本文探讨了幻觉、物质和心灵之间的三角关系，这种关系在洞穴和宗密的礼拜仪式中被主题化。本文结合汉斯·贝尔廷（Hans Belting）最近在图像人类学方面的工作，得出结论，认为洞穴、其原始文本和相关的忏悔仪式共同坚持了除了心灵本身之外的所有媒体的根本无关性。这样一个概念表明，需要发展一种专门的佛教图像、媒体和思想理论。

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来源期刊

ARCHIVES OF ASIAN ART Multiple-

CiteScore

0.40

自引率

20.00%

发文量

期刊介绍： Since its establishment in 1945, Archives of Asian Art has been devoted to publishing new scholarship on the art and architecture of South, Southeast, Central, and East Asia. Articles discuss premodern and contemporary visual arts, archaeology, architecture, and the history of collecting. To maintain a balanced representation of regions and types of art and to present a variety of scholarly perspectives, the editors encourage submissions in all areas of study related to Asian art and architecture. Every issue is fully illustrated (with color plates in the online version), and each fall issue includes an illustrated compendium of recent acquisitions of Asian art by leading museums and collections. Archives of Asian Art is a publication of Asia Society.