泰國東北佛寺之那伽美術考察

An Investigation of Naga Fine Art in the Buddhist Temples of Northeastern Thailand

泰東北為那伽文化重鎮，筆者走訪泰東北南區、中區與湄公河區，發現那伽美術雖普遍可見，但越靠近湄公河區，其所展現的比例就越高，此分布規律反映出泰東北那伽美術的普同性與特殊性。本文採符號學理論，輔以泰東北七府田調資料，目的在探討泰東北佛寺的那伽美術特色，並對符號學提出辯證，加入「地區」元素的討論。考察發現：一、那伽美術形制分為高棉和泰式兩類。二、那伽美術之佛寺建築裝飾、雕塑和壁畫，各具特點。三、以普同性而言，龍王護佛像、那伽雕塑與那伽壁畫普遍可見。四，以特殊性而言，湄公河區佛寺的那伽美術比例最高，因蘊含豐富的在地智慧，遂與他區產生差異。 Northeastern Thailand is the center of Naga culture. This study concerns the southern, central, and Mekong River areas of Northeastern Thailand. Naga art is generally seen in Buddhist temples, but a large proportion of Naga art is seen closer to the Mekong River area. This regular pattern of regional distribution shows that Naga fine art of Northeastern Thailand possesses not only universality but also particularity. This study uses semiology and involves field research in exploring the characteristics of Naga fine art in the Buddhist temples of Northeastern Thailand. At the same time, it proposes a dialectical thinking to semiology, adding the 'regional' element to discuss it. The results of the investigation show that (a) Naga art form is divided into two types: Khmer and Thai; (b) Naga fine art in the Buddhist temples, including architectural decoration and ornaments, sculptures, and murals, all have local characteristics; (c) In terms of universality, the statue of the Buddha seated under the Naga, Naga sculptures, and Naga murals are generally seen in Northeast Buddhist temples and are characteristics of Northeastern Thailand; (d) In terms of particularity, most of the Naga fine art in temples is found in the Mekong River area, which is rich in local wisdom, and hence it is different from that of other areas.

Northeastern Thailand is the center of Naga culture. This study concerns the southern, central, and Mekong River areas of Northeastern Thailand. Naga art is generally seen in Buddhist temples, but a large proportion of Naga art is seen closer to the Mekong River area. This regular pattern of regional distribution shows that Naga fine art of Northeastern Thailand possesses not only universality but also particularity. This study uses semiology and involves field research in exploring the characteristics of Naga fine art in the Buddhist temples of Northeastern Thailand. At the same time, it proposes a dialectical thinking to semiology, adding the 'regional' element to discuss it. The results of the investigation show that (a) Naga art form is divided into two types: Khmer and Thai; (b) Naga fine art in the Buddhist temples, including architectural decoration and ornaments, sculptures, and murals, all have local characteristics; (c) In terms of universality, the statue of the Buddha seated under the Naga, Naga sculptures, and Naga murals are generally seen in Northeast Buddhist temples and are characteristics of Northeastern Thailand; (d) In terms of particularity, most of the Naga fine art in temples is found in the Mekong River area, which is rich in local wisdom, and hence it is different from that of other areas.