從館藏文物中劉海蟾形象變化看道教的世俗化傾向
發(fā)布時間:2018-12-20 07:54
【摘要】:劉海蟾是生活于五代末期的著名道士,他年少登科,官居相位,后受正陽子點化,遁跡于終南山下,后得道飛升,被道教全真派奉為"五祖"之一。其最初在繪畫中多以蓬頭的中年男子形象出現(xiàn),而到了明代中期以后其形象多被塑造成孩童,清代以后其民間形象在童子的基礎上變得更加夸張生動,具有鮮明的時代特征和民俗氣息。本文旨在通過劉海蟾形象變化的個案分析,研究自宋代以來道教的世俗化傾向和儒、釋、道三教融合發(fā)展的趨勢。
[Abstract]:Liu Haizan is a famous Taoist who lived in the end of five dynasties. He was young, in the official phase, later by Zhengyang son, then disappeared under the Zhongnanshan, and then got the rise of Taoism. He was regarded as one of the "five ancestors" by the Taoist Quanzhen School. At first, it appeared as a middle-aged man with a head in painting, but after the middle of Ming Dynasty, its image was mostly shaped as a child. After the Qing Dynasty, its folk image became more exaggerated and vivid on the basis of the child. Has the distinct time characteristic and the folk custom breath. The purpose of this paper is to study the tendency of Taoism secularization and the trend of integration of Confucianism, Buddhism and Taoism through the case study of the image changes of Liu Hai Xue.
【作者單位】: 天水市博物館;
【分類號】:G894;B959.9
本文編號:2387681
[Abstract]:Liu Haizan is a famous Taoist who lived in the end of five dynasties. He was young, in the official phase, later by Zhengyang son, then disappeared under the Zhongnanshan, and then got the rise of Taoism. He was regarded as one of the "five ancestors" by the Taoist Quanzhen School. At first, it appeared as a middle-aged man with a head in painting, but after the middle of Ming Dynasty, its image was mostly shaped as a child. After the Qing Dynasty, its folk image became more exaggerated and vivid on the basis of the child. Has the distinct time characteristic and the folk custom breath. The purpose of this paper is to study the tendency of Taoism secularization and the trend of integration of Confucianism, Buddhism and Taoism through the case study of the image changes of Liu Hai Xue.
【作者單位】: 天水市博物館;
【分類號】:G894;B959.9
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1 馬振東;明代宮廷繪畫的一顆珠璣[N];河北日報;2005年
2 成春到;黃玉雕三足蟾鎮(zhèn)紙[N];中國藝術報;2004年
,本文編號:2387681
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