清代江華瑤族神像畫(huà)中大小海幡的圖像研究
發(fā)布時(shí)間：2018-08-16 08:16
【摘要】：海幡是瑤族祖神,在道教傳入后被納入瑤傳道教神系供奉至今。課題組在一批清代瑤族神像畫(huà)中觀察到,海幡神像畫(huà)明顯比其他的神靈像多,在每一套神像畫(huà)里大多會(huì)有兩張,分為大海幡和小海幡;同時(shí)發(fā)現(xiàn)海幡圖像內(nèi)容不僅保留了瑤族原始宗教特征,還融合了漢族文化。鑒于神像畫(huà)對(duì)固化瑤族文化傳承起著重要作用,而學(xué)術(shù)界對(duì)其中的海幡研究極少,所以本文從界定大小海幡出發(fā),對(duì)比二者異同,討論各自深刻的宗教寓意和豐富的文化內(nèi)涵,以探究瑤族復(fù)雜的宗教變遷狀況和多元一體的文化特色。
[Abstract]:Haifan is the ancestor god of Yao nationality, which was incorporated into the Yao Taoist Shrine system after Taoism was introduced to this day. The subject group observed in a group of paintings of Yao gods in Qing Dynasty that there were obviously more sea banners than other deities, and in each set of paintings there would be two pictures, which were divided into sea flags and small sea flags. At the same time, it is found that the content of Haibanan not only retains the original religious characteristics of Yao nationality, but also integrates Han culture. In view of the important role of the idol painting in solidifying the cultural heritage of the Yao nationality, and the academic research on the sea banners is very few, this paper starts from defining the size of the sea flags, contrasts the similarities and differences between the two, and discusses their profound religious connotations and rich cultural connotations. In order to explore the complex religious changes of Yao and the cultural characteristics of multiple integration.
【作者單位】： 四川師范大學(xué)美術(shù)學(xué)院;
【基金】：國(guó)家社會(huì)科學(xué)基金青年項(xiàng)目“數(shù)字化背景下西南地區(qū)明清、民國(guó)道教水陸畫(huà)的搶救、整理與研究”(編號(hào):14CZJ013)階段性研究成果
【分類(lèi)號(hào)】：J219
本文編號(hào)：2185418
[Abstract]:Haifan is the ancestor god of Yao nationality, which was incorporated into the Yao Taoist Shrine system after Taoism was introduced to this day. The subject group observed in a group of paintings of Yao gods in Qing Dynasty that there were obviously more sea banners than other deities, and in each set of paintings there would be two pictures, which were divided into sea flags and small sea flags. At the same time, it is found that the content of Haibanan not only retains the original religious characteristics of Yao nationality, but also integrates Han culture. In view of the important role of the idol painting in solidifying the cultural heritage of the Yao nationality, and the academic research on the sea banners is very few, this paper starts from defining the size of the sea flags, contrasts the similarities and differences between the two, and discusses their profound religious connotations and rich cultural connotations. In order to explore the complex religious changes of Yao and the cultural characteristics of multiple integration.
【作者單位】： 四川師范大學(xué)美術(shù)學(xué)院;
【基金】：國(guó)家社會(huì)科學(xué)基金青年項(xiàng)目“數(shù)字化背景下西南地區(qū)明清、民國(guó)道教水陸畫(huà)的搶救、整理與研究”(編號(hào):14CZJ013)階段性研究成果
【分類(lèi)號(hào)】：J219
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，本文編號(hào)：2185418
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