藏傳佛教中的《咕嚕咕咧佛母》涵義及特徵圖案設計創作與應用研究

藏傳佛教是由印度傳入後的分支，並從公元七世紀開始流傳至今，又稱之為藏語系佛教，而在佛教三大地理體系中又分為「北傳、漢傳、南傳」統屬大乘體系，其中以藏傳佛教中的密宗傳承最為獨特，神秘色彩也最為龐大。藏傳佛教中普遍為人知曉，掌管著權威及懷愛的本尊之ㄧ，莫過於就是指「咕嚕咕咧佛母」又稱「作明佛母」，在漢傳佛教中的經典記載稱之為「酤羅菩薩」，因功德遍攝三界並自在而運行，故稱「三界自在空行母」或稱「懷柔佛母」之意。咕嚕咕咧佛母出自於阿彌陀佛蓮華部，屬於密教四大法「息、增、懷、誅」中的懷愛法，常被世人比喻為中國東方的愛神，而在唐卡中的法相上，咕嚕咕咧佛母的表情、符號、穿著、飾品、法器、姿態、也有些不同的喻意，在對應於現代社會中人與人的相處上更是能攝受人心，具有圓滿世間情愛與增進緣份的正能量場。然而，本研究創作將會分為三部分論述: 第一，藉由文獻分析、整理與歸納，探究角色象徵意義，藉佛教實體文物及典籍之源由探究，來瞭解及發展脈絡，並研究分析象徵性裝飾物的樣貌，符號組成的涵義；第二，以案例分析的方式，分析古典佛教圖像轉化為現代佛教圖像的例子，並選定與分析適合的風格形式，經由文獻中對典籍的瞭解，進而以更客觀的角度來述說；第三，本研究創作方面，透過各文獻圖例及文本的分析，則嘗試將藏傳佛教菩薩人物與象徵性裝飾物，以重組繪製的方式將《咕嚕咕咧佛母》整體形象及法物特色呈現在插畫圖案設計上，並使其成為具有商業性的吉祥物形象，不單純只是經典上的產物，而是有古典歷史現代重現的涵義，將傳統造形重新詮釋的創作方式，把以往嚴肅的印象導入親和力的形體面貌，讓觀者產生煥然一新的視覺感受之外也能對佛教傳統文化產生興趣。

關鍵字

藏傳佛教；咕嚕咕咧佛母；作明佛母；佛教愛神

並列摘要

Tibetan Buddhism, also known as Buddhism in Tibetan, is a branch of Buddhism originated in India, which passed down and prospered since the seventh century A.D.. The three major geographical systems of Buddhism tradition are "the Northern Buddhism, the Chinese Buddhism, and the Southern Buddhism," which all belong to Mahayana Buddhism system. The Vajrayana, among other Tibetan Buddhism traditions, is considered as the most unique system well known for its mystery. In Tibetan Buddhism Kurukulla Sadhana, also known as Rig Byed Ma, is most well known as the one, who is in charge of power and happiness. In Chinese Buddhism scripture, Kurukulla Sadhana is also called Kurukulla, who is widely known for her virtue and authority. Kurukulla Sadhana from Amitabha, also well known by laymen as oriental goddess of love, belongs to the system of magnetization, which is one of the Tibetan Buddhism's four accomplishments including purification, enhancement, magnetization, and subjugation. In Thangka Drawings, Kurukulla Sadhana's expression, symbol, wearing, accessories, Instruments, and attitude are enriched with different meanings. Moreover, Kurukulla Sadhana is worshiped as the one possessing a perfect world of love and being able to enhance the fate of the positive energy field in human society. This research consists of three parts. In part one, the author is exploring the role of symbolic meaning by analyzing, sorting, and concluding the literature analyzed. In addition, the effort is also made to understand the symbolic decoration development process through studying on the origin of Buddhist Cultural Relics and Classics. In part two, the author tries to demonstrate and address Kurukulla Sadhana tradition and its motif through case studies, analyzing the transformation from some classic Buddhist images into modern Buddhist images, in which the appropriate style forms, more classic scriptures, and related literatures of Kurukulla Sadhana will be looked into. In last part, the author will contribute to expressing and illustrating Kurukulla Sadhana tradition in his own design through analyzing related literature illustrations and documents, furthermore trying to create illustrations and designs that reflect the whole image of Kurukulla Sadhana by optimizing and rearranging Tibetan Buddhism Buddha characters and symbolic ornaments of Kurukulla Sadhana. The illustration and new design process will re-create Kurukulla Sadhana image as a mascot, which can be used commercially beyond its classic religious context. More than that, the classical Kurukulla Sadhana image is expected to be reborn in a modern context, in which the classic image Kurukulla Sadhana will be granted new meaning through the creative process. The target audiences will be expected to be inspired and enlightened by the new image of Kurukulla Sadhana, which has transformed from a solemn goddess image into an audience-friendly image. Besides, audiences are also encouraged to explore more Buddihism culture in general and Kurukulla Sadhana in particular.