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本文对历代肖像式妈祖图像进行了全面系统的梳理,探索了历代妈祖图像的特点及变迁轨迹,同时聚焦于两个学界比较有争议的问题,提出了自己的观点。如针对“青圭蔽朱旒”问题的争议指出:南宋封妃之后出现的“青圭蔽朱旒”的妈祖图像,在历代妈祖图像的发展中一直延续下来,成为肖像式妈祖图像发展的主线。又如针对清代以来世界各地妈祖庙宇十分流行的凤冠冕板式妈祖图像指出:凤冠冕板式妈祖图像是“后”与“帝”的完美结合,使妈祖既保留了女性最高神的特性,又具有帝王的身份,与男性的封“帝”神祇取得同等的地位。妈祖在清代头戴冕旒的形象,实际上是妈祖具有“帝”的身份的隐喻。
This paper systematically sorts the images of the ancient portraits of Mazu in a comprehensive and systematic manner, explores the characteristics and the changing trajectories of the images of Matsu in the past dynasties, and at the same time, it focuses on the more controversial issues in the two academic circles and puts forward my own views. As pointed out in the controversy over the issue of “Qing Gui Gu Zhu”, the images of Matsu, appearing after the Southern Song Dynasty concubine, continued to evolve in the development of the images of ancient Matsu. The main line of image development. Another example is the phoenix coronal Matsu image, which is very popular in the temple of Matzu around the world since the Qing Dynasty, and points out that the phoenix coronal Matsu image is the perfect combination of “Hou ” and “Emperor ” so that Matsu not only retains the highest god of women Characteristics, but also has the identity of the emperor, and male seal “God ” God only to achieve the same status. The image of Mazu wearing a crown in Qing Dynasty is actually a metaphor of Mazu’s identity as a “god.”