碩士 / 一貫道天皇學院 / 一貫道學研究所 / 107 / Religious icon have hidden miraculous features, combined with the concrete manifestation of art and aesthetics, which make the believers more sacred and solemn to the ritual space. The center God image of I-Kuan Tao’s prayer hall highlights the unique and amiable visual effects of I-Kuan Tao’s ritual space. Through the concrete religious artifacts, the cultural context and belief connotations I-Kuan Tao, as well as the value of artifacts endued by human are observed. Looking back at religious artifacts, for a religious group, it has its own traceability, introspection, and the deep meaning of the ancestral roots.
This study explored the center God images of I-Kuan Tao Bao Guang Jian De in the 1950s to 1980s as the main research object. Through the literature, field investigations, and oral interviews, this study restored the mainstream form of the early center God image used and traced the image of The Nan Hai Gu Fo reinterpreted by Bao Guang Jian De predecessor, Grand Master Lu, which he entrusted Mei Shi Atelier to draw. Mei Shi Atelier, located in Fengyuan district, created three images of single The Nan Hai Gu Fo in either standing or sitting position for I-Kuan Tao. These images were passed along the path of I-Kuan Tao propagation to the north, center and south of Taiwan, and noted the local painters drew the The Nan Hai Gu Fo images from the Mei Shi version to display the local features. This study collected the existing Mei Shi version of hand-painted drawings, and analysed them via the Panofsky's Iconological Method of Art Analysis, in order to mutually validate the I-Kuan Tao doctrine hidden within them and endue the value of religious art to the religious artifacts.
According to the research results, it was noted that the Grand Master Lu’s vision of the center God image used to propagate Tao in Taiwan was ingenuity. He used the widely spread images or real photos of the traditional Guanyin beliefs as the main blueprint, imitated the image of the Zen-oriented book entitled “White-robed Guanyin Image” written by Muxi, as well as the image of Guanyin riding on Ao (one of the legendary dragon’s nine sons) to suppress the sea monsters and ensure the safety of Taiwan. These images were translated into the symbol of I-Kuan Tao doctrine, which allowed uniformity of the center God image of I-Kuan Tao prayer halls and kindled the enthusiasm for Tao cultivation. Grand Master Lu designed a series of uniform center Kuan-Yin Budda images, which immersed the elements of Guanyin beliefs, allowing the I-Kuan Tao disciples to create a sense of identity with the folk beliefs when they are in the prayer hall, as well as to create a sense of belonging of the cultivation group. This is conducive to the spread of foreign religions in Taiwan during the early days.
I-Kuan Tao used The Nan Hai Gu Fo as the "divine diplomat" in its Tao propagation strategy. It was used as a cover for I-Kuan Tao during the martial law period and to get close to the local people. The Nan Hai Gu Fo became the common point of Taiwanese beliefs, and a basis for I-Kuan Tao to enter the hearts of the local people.
| Identifer | oai:union.ndltd.org:TW/107IKTC0183005 |
| Date | January 2019 |
| Creators | OU YANG,HSING-JU, 歐陽杏如 |
| Contributors | Lin, Jen-Cheng, 林仁政 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 223 |
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