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واکاوی نقشِ آموزۀ «تجسّد» در تکوین معماری مقدّس بودایی | ||
| مبانی نظری هنرهای تجسمی | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 10 خرداد 1404 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2025.50178.1643 | ||
| نویسندگان | ||
| محسن ساربان نژاد* 1؛ حسن بلخاری قهی2 | ||
| 1دانشجوی دکتری پژوهش هنر، دانشکده هنرهای تجسمی، پردیس هنرهای زیبا، دانشگاه تهران | ||
| 2استاد گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، پردیس هنرهای زیبا، دانشگاه تهران | ||
| چکیده | ||
| تحلیلِ نقشِ آموزۀ «تجسّد» در تکوینِ معماریِ مقدّس بودایی و بر قراریِ تناظر میانِ جسمِ بودا با اِسْتوُپَه که بنای مقدّس بودائیان است، در این مقاله مورد مورد واکاوی قرار گرفته است. نخستین بارقه‌های باور به جوهر و گوهرِ فرازمانیِ سیذارتا گوُتَمَه در شورای دومِ بودایی ظهور کرد و پس از گسترش و تثبیت مَهایانَه به یکی از ارکانِ کلامیِ این مکتب بدل شد. پرسشِ اصلیِ تحقیق، چرایی و چگونگیِ برقراری تناظرْ میانِ اندازه‌های کالبدِ فیزیکی بودا در مقامِ کهن الگویِ بدنِ انسان،با ابعاد و تناسباتیِ هندسیِ معبد بودایی و نحوۀ شکل‌گیریِ ترجمانِ زیباشناختیِ آموزۀ تجسّد در بودیسم است. نتایجِ به دست آمده از پژوهش نشان می‌دهند نگاهِ کاملاً متفاوتِ مَهایانیست‌ها به ذات و طبیعتِ بودا، فضای کلامیِ بودیسم را به شکلی گسترده برای ظهور و تثبیتِ قرائتی کاملاً متفاوتْ از آموزۀ «بودا شناخت» فراهم آورد و سبب شد که آموزۀ تجسّد ابتدا در ساحت نظری تئوریزه شده و سپس به راهنمایی برای برپاییِ معبد بودایی بدل شود. بدین ترتیب، سمبولیسم و تناسباتِ عددی و هندسیِ اِسْتوُپَه واجد همان دلالت‌های متافیزیکی می‌شد که در متونِ مرجعْ و بالأخص کَنُنِ پالی در باب دَرْمَه که همان تعلیمِ بودا است، آمده بود. داده‌های پژوهش با استفاده از منابع کتابخانه‌ای گردآوری شده و با روش تحلیلی – تأویلی که روشی کیفی است، مورد تجزیه و تحلیل قرار گرفته‌اند. ابتدا ریشه‌های ظهورِ دکترینِ تجسّد در بودیسم مورد مطالعه قرار گرفته و سپس قرائتِ زیباشناختی آن در برپاییِ معماری مقدّس بودایی تحلیل خواهد شد. | ||
| کلیدواژه‌ها | ||
| بودیسم؛ تجسّد؛ بودا؛ تَنِ بودا؛ اِسْتوُپَه | ||
| عنوان مقاله [English] | ||
| Analyzing the Role of the “Incarnation” Doctrine in the Formation of Sacred Buddhist Architecture | ||
| نویسندگان [English] | ||
| Mohsen Sarebannejad1؛ Hasan Bolkhari Ghehi2 | ||
| 1PhD Candidate, Advanced Art Studies, College of Fine Arts, University of Tehran | ||
| 2Full Professor, Advanced Art Studies, College of Fine Arts, University of Tehran | ||
| چکیده [English] | ||
| This article examines the role of the “incarnation” doctrine in the formation of sacred Buddhist architecture and the establishment of a correspondence between the body of the Buddha and the stupa, which is the sacred structure of Buddhists. The first signs of belief in the supra-temporal essence and nature of Siddhartha Gautama appeared in the Second Buddhist Council and after the expansion and consolidation of Mahāyāna, it became one of the theological pillars of this school. The main question of the research is why and how the correspondence between the dimensions of the physical body of the Buddha as the archetype of the human body, with the dimensions and geometric proportions of the Buddhist temple and how the aesthetic interpretation of the doctrine of incarnation in Buddhism is formed. The results of the research show that the completely different view of the Mahāyānists on the essence and nature of the Buddha, the theological space of Buddhism in a wide range for the emergence and stabilization of a completely different reading of the “Buddhology” doctrine and caused the doctrine of incarnation to be first theorized in the theoretical realm and then become a guide for the establishment of the Buddhist temple. With the emergence of reformist schools and the rise of esoteric viewpoints, the theoretical foundations of art and architecture also underwent profound transformations. The stupa became a symbol of the ‘Mundi’, which in Buddhism is the axis of the cosmos. This correspondence later led to the emergence of ritualistic practices such as Pradakṣiṇā, which Buddhists perform by circumambulating the stupa in a clockwise direction, symbolizing the union of the macrocosm and microcosm. The waves of human movement in this ritual represent the flow of the cosmic ocean that surrounds the mythical Mount Meru. It is in this rite that man and existence become united and one. However, it should not be overlooked that the principle of the temple’s identity with the cosmic human body, which also found its way into the thought of Christian priest-architects, predates the Vedic rites and the symbolism of the god Purusha, which is incorporated into the architectural plan of the Hindu temple. In all three religions – Hinduism, Buddhism, and Christianity – the human-divinity embodied in the temple is an offering that connects earth and heaven. The Hindu temple is a symbolic house and the abode of the deity's image. It is a structure that is erected for the encounter between creator and creation, based on symbolic expression. Citing the sacred texts of the Vedic period, especially the Brahmanas, which, along with some Indian sutras, were the main source for discovering and understanding the instructions for constructing altars, the erection of an altar can be likened to a kind of initiation and mystification. In sacred Hindu architecture, the term that encompasses both the structural and aesthetic aspects of altars and temples is Vāstupuruşamaņdala, which itself consists of three parts: Vāstu, puruṣa, and mandala. The word Vāstu in this term is the extension of existence in its artificial state, which is considered analogous to purusha. Purusha is the image of man in his cosmic dimensions, the origin and source of existence, which is superimposed on the site plan. The plan and map of the temple in this state is an image of the determinate state of purusha. Since the temple is considered equivalent to the universe, and existence has come into being through the sacrifice of puruṣa, a correspondence between the temple and puruṣa can be established. Thus, two factors can be considered among the most important factors in the formation of art and architecture in traditional civilizations. First, the kind of attitude that man has towards himself and the world around him; and second, some specific theological and theological teachings. With the explanation that in some cultural and ideological contexts, the type of human attitude towards himself and his surrounding world is obtained through teachings derived from the text of theological and theological foundations. The doctrine of ‘incarnation’, the role of which in the establishment of sacred Buddhist architecture is the main question of this research, and the explanation of the relationship between the metaphysics of the temple and the teachings stated in the current texts, which in some cases determine the physical dimensions and geometric proportions used in Buddhist temples, is among these principles and origins. The first glimmers of the emergence of the doctrine of incarnation in Buddhism can be traced back to the accounts of the moment of Buddha's enlightenment. In the 36th Sutta of the Majjhima Nikāya (the Mahā-Saccaka Sutta), the narrative of Buddha's enlightenment is detailed further. The three knowledges and insights that illuminated Buddha's heart and mind under the Bodhi tree during this trance were the knowledge of “past lives,” the knowledge of “saṃsāra,” or the cycle of reincarnations, and the knowledge of the Four Noble Truths. Despite the emergence of a theoretical schism during and after the Second Council, which had a significant impact on the formation of other sects and schools that emerged in the following centuries, all eighteen early Buddhist sects are categorized under the Hinayana branch. This also applies to the Mahāsāṃghika school, which most Buddhist scholars and even reports that deal with the early period of the formation of Buddhist sects considered a kind of heresy. From this very Mahāsāṃghika school emerged a branch called the “Lokottaravādin,” whose main doctrine was based on the theory of "Lokottara," meaning the supramundane nature of the Buddha. The doctrine of incarnation in Buddhism, which by no means should be confused with "reincarnation," originated from the Second Council and the formation of the Mahāsāṃghika school, and after passing through the views of the Lokottaravādins, who first proposed the idea of a distinct essence and nature of the Buddha, made its way towards the views of the Mahayana branch. Among the eighteen early schools of the Hinayana branch, the Mahāsāṅghikas, with their theory of "Lokottara," should be considered the forerunners of the belief in the divinity of the Buddha. A school in which the main seeds of the later Mahayanist teachings were sown in their thoughts. With the emergence of the Mahayana branch, the doctrine of the Buddha's divinity, and consequently, his incarnation, gradually took on a systematic form, and in the Lotus Sutra, for the first time, the concept of the "Primordial Buddha" and his historical incarnations was spoken of in a completely formal and canonical way. The chronicles of the reign of Ashoka, one of the most powerful rulers of the Maurya dynasty and a staunch supporter of Buddhism, clearly testify that he believed in the existence of historical Buddhas before Siddhartha Gautama. However, it is quite clear that the orthodox and traditional view did not tolerate such views, and the issue of the Buddha's divinity and incarnation became the focus of theological disputes, especially between the Sarvastivādins and the Mahāsāṅghikas. In this way, the symbolism and numerical and geometric proportions of the stupa acquire the same metaphysical connotations that were mentioned in the reference texts, especially the Pāli Canon regarding Dharma, which is the teaching of the Buddha. The research data has been collected using library sources and analyzed by analytical-interpretive method, which is a qualitative method. | ||
| کلیدواژه‌ها [English] | ||
| Buddhism, Incarnation, Buddha, Buddha's Body, Stūpa | ||
| مراجع | ||
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