| Summary: | 碩士 === 國立臺北藝術大學 === 美術史研究所 === 100 === A Study of Buddhist Kalavinka in Tang Dynasty
In this thesis, I investigate the development of Buddhist Kalavinka in Tang Dynasty by a whole and wide perspective. Kalavinka, the bird, which had new composition and meanings when it was spread to China, mentioned in the Sanghata Sutra. First of all, my proposition is to elaborate how people of Tang dynasty recognized and interpreted Buddhist Kalavinka. Besides, Kalavinka, which was widely found in Buddhist narrative paintings and underground palace, was distinguished from all other birds because of its image became the best symbol of the birds saying in Buddhist practice; therefore, I would address my viewpoint of the image of Kalavinka in different space and field.
From context analysis, the meaning of Kalavinka in Buddhist Art was increasing in Tang Dynasty. In addition to its featured and wonderful voice, in the development of iconography was lately illustrated clearly in Buddhist Art. In some Buddhist narrative paintings, saw some different meanings of Kalavinka and made its voice more concrete. For example, the miniature of coffin-like container of śarīra found in underground palace could see the expression of nirvāna become more concrete. Kalavinka represented a symbol of Buddhist voice and the meaning of flying to paradise. The relationship between the structure of tomb of Tang Dynasty and underground palace were close to the belief and funeral tradition in Tang Dynasty. Meanwhile, I would express some interchangeable characteristics enabling each other.
Kalavinka can be a metaphor and image of Buddhist found in different site and all kinds of containers of its era. From the symbol of expression of Sukhāvatī in Buddhist world to nirvāna and the symbol of eternity, this interpreted the changing meanings of Kalavinka in China and also gave the new outlook.
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