当前位置:最艺术论文网 >> 美术 >> 浏览文章

浅议壁画金元道教信仰与图像体现

发布时间: 2012-6-8


预读:浅议壁画金元道教信仰与图像体现
论文中文摘要:本论文以山西芮城永乐宫壁画为切入点,讨论了金元时期全真教祖师信仰的形成与图像体现的相关不足。全文分为四个部分。第一部分在识读、整理、复原碑文的基础上,梳理了永乐宫的历史,参考元代全真教进展史,将永乐宫兴建分为三个主要阶段:初建、沉寂与再兴。以历代碑文归纳其以全真祖庭到地方宫观的演变及明清重修信息。第二部分首先进行了纯阳殿全部壁画绘制时间讨论与图像考释。比对相关文献,讨论了壁画与文献之间的对应与联系。由于有学者认为三清殿神龛背壁悬塑身份为吕洞宾,本部分附加了对这一内容的讨论,否定了这一看法。朱好古弟子的画工题记表明:与其余归在朱好古名下的壁画遗迹不同,所谓朱好古风格应该至少包含两种内容与体现策略。第三部分重新讨论了重阳殿壁画的初绘时间,在壁画内容辨识历程中,新增了三个丢失榜题的故事,并将神龛后壁三个有榜题的故事也一并归为王重阳故事画中,将其故事数量增至五十五个,并认为重阳殿壁画可能是由李志常、史宏真创制的《重阳真人悯化图》存世的唯一实例。通过实地观察,判断背壁中部壁画体现的是全真弟子朝拜三清的内容。此外还以列表的形式展现了壁画榜题与几种道教文献记述之间的联系。地狱、天堂、骷髅是该殿壁画的内容特点,反映出全真教宣教的特点。第四部分主要讨论道教神仙谱系在宋代定型后的新变化,全真教徒对吕洞宾信仰进行了吸收与改造,并对后世吕洞宾图像特点的建立与广泛传播产生了重要影响。通过梳理元代道教宫观殿堂设置与奉神情况,可以看出全真教奉神特点与具体体现。祖师故事画在图像体现方面借鉴了佛传故事画中的图式,在图文转换中进行了加减与变化,最终形成一套较为稳定的祖师故事画方式,并有不同演绎,以《老子八十一化》、处顺堂壁画到永乐宫壁画、《玄风庆会图》,逐渐减弱了佛道之间的冲突与对立,集中于对祖师圣迹的宣扬。通过以上四部分的讨论,本论文完成了对纯阳殿、重阳殿壁画内容与绘制时间的基础探讨,并将壁画与全真祖师信仰及其他图像体现联系起来,揭示出壁画与文本之间的复杂联系,壁画对佛传故事画进行了一定程度上的借鉴,并反映全真教的宣教特点。五祖七真祖师信仰与图像是全真教努力建立自身与传统道教之间的联系,确立道教正统教派形象的结果。

【English Abstract】 The paper focuses on the frescos of YongLe Palace, and discuss the formation and image expression of founders in Quanzhen Daoism.There are four parts in this paper. The first chapter rebuild history of Yongle Palace, based on reading and recovering steles in Yongle Palace. Considering the development of QuanZhen Daoism, I divided the history of YongLe Palace into three stages, building dreariness and revival. Yongle Palace is started as the Birthplace to a local Taoist temple in the end. These could be found in inscriptions of steles.The second part of paper discusses the whole frescos of ChunYang palace, including contents and completion time of frescos. This part try to find the connection and correspondence between frescos and ancient pteral resources. Some researchers tend to bepeve that hanging statue behind shrine in Three Purities Palace is LuDongbin. This article denied this, through discussing some of arguments。 Postscripts of Zhu Haogu’s followers show the style of Zhu Haogu concluded at least two techniques of expression. The frescos’ style in Yongle Palace drawing by Zhu Haogu’s followers is different from other frescos drawing by them too.The third parts of paper discusses the time when finished the whole frescos in ChongYang Palace. Finding three stories in frescos, gathering three stories drawing behind shrine, there are fifty-five stories in ChongYang Palace. That might be the only example corresponding Chong Yang Zhen Ren Min Hua Tu by Li Zhichang and Shi Hongzhen in Yuan Dynasty. Through observation at ChongYang Palace, attempt to bepeve fresco behind shrine shows scene of QuanZhen Daoist paying repgious homage to Three Purities. Additional, it shows the connection between contents of frescos and pteratures of Daoism with tables in this paper. Hell heaven and Skeleton are Characteristic of ChongYang Palace. It reflected the feature of QuanZhen Daoism.The fourth part discusses the changing of immortal phylon after estabpshed in Song Dynasty. The QuanZhen daoists absorbed and improved the faith of LuDongbin. And it exerted an influence on building and spread of LuDongbin’s images in later ages. Through checking setup and methods of serving immorals of Daoism Palace in Yuan Dynasty, we could find features of QuanZhen Daoism on serving immorals. Then we discuss the representational features of frescos of Daoism Master’s Story. It takes examples by pattern of The Buddha story, and produces a complete pattern of Daoism Master’s Story by changing and adding some plots. From frescos of Lao Zi Ba Shi Yi Hua,

专注****艺术论文,********请联系客户人员
音乐论文、舞蹈、戏曲、美术、体育、播音主持、电视电影、环境艺术毕业设计.....尽在最艺术论文网 !竭诚为你服务,需要****或者发表艺术类论文可联系****人员哦