从圣地再造与母题重构看乾隆帝的佛教建筑设计观

Qianlong Emperor s Design Philosophy of Buddhist Architecture From the Holy Land Reconstruction and Motifs Reconstitution

乾隆十三年(1748),乾隆帝开始改造雍和宫,以阐福寺大雄宝殿为基础新建万福等三阁,实则二者皆源于以巨像高阁为特征的“隆兴意象”,亦即正定隆兴寺大悲阁和二耳阁。此后,“隆兴意象”又和西藏表征须弥世界的桑耶寺式布局结合到一起,产生了须弥灵境和普宁寺。这一环环相扣的系列工程充分展现出乾隆帝在进行佛教物质文化创造时的一种模式,即将汉、藏等地佛教历史上具有特殊政治、宗教意涵的圣迹作为母题加以重构、再现,进而迭代、增益,由此创造出一系列蕴含丰富政治和文化隐喻的佛教文化景观。从思想动机上看,这些佛教工程无一不彰显着乾隆帝以中华自居的身份认同和对皇权正统的自我宣示,同时也是乾隆帝期冀借助佛教将多元文化和政治传统统摄于一体,整合蒙、藏等边疆民族地区,实现其大一统政治理想的具象化体现。

the thirteenth year of Qianlong(1748),Emperor Qianlong In fact,both of them originated from the“Longxing Image”characterized by a olossus and avilion type,namely Guanyin Pavilion and wo lanking avilion in Longxing Monastery.Shortly after,this“Longxing Image”was integrated into the layout of Sangye Temple in Xizang,representing the Sumeru world,leading to the creation of Xumi Lingjing and Puning Monastery.This series of projects fully exemplifies Emperor Qianlong s pattern in creating Buddhist material culture.acred sites with significant political and religious connotations in Buddhist historyas motifs through iteration and evolution,a series of Buddhist cultural landscapes rich in political and cultural metaphors.From an ideological perspective,these Buddhist projects highlight Emperor Qianlong s self-identif as Chinese and his declaration of imperial.hey also served as tangible manifestations of Emperor Qianlong s aspiration to integrate diverse cultural and political traditions Mongolia,and other border ethnic areas.