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本文按照历史的时间顺序,综合从图像和文化两方面对水陆画中的关羽形象进行流考,兼顾穿插论述自唐以来水陆画的发展情况,表明关羽的形象在宗教艺术中经历了一个从宗教性为主到世俗性占主导的过程。关羽形象在水陆画中的出现是儒、释、道以及民间世俗各方文化共同作用下的结果,而水陆画的出现与发展更是与宗教美术的世俗化进程相一致,从侧面论证了自隋唐以来宗教美术的世俗化倾向。
According to the historical chronological order, this article conducts the flow test of Guan Yu image in both water and land according to the image and culture, taking account of the development of water and land paintings since Tang dynasty. It shows that Guanyu’s image has experienced a change from religion Sex-dominated to secular dominated process. The emergence of Guan Yu’s image in water-land paintings is the result of the joint action of Confucianism, Buddhism, Taoism and folk secularism. The emergence and development of water-land paintings are even more consistent with the secularization process of religious art. From the side, The Secularization Trend of Religious Fine Arts since the Sui and Tang Dynasties.