道教壁画五岳神祗图像谱系研究

发布时间：2018-07-27 11:19

【摘要】： 五岳作为独有的历史文化现象在中国古代社会一直扮演着重要角色。而作为其重要表现形式之一的道教五岳壁画，也成为反映各个时期社会文化动态的载体。本文选取道教壁画五岳神祗图像作为研究对象，通过对现存道教壁画中五岳神祗位业的梳理、分析，初步建构起各道教壁画中的五岳神祗谱系，并通过对五岳神祗位业的探讨，尝试解读支配壁画建构的思想体系和逻辑构思，也即古代壁画建构的思想性问题。论文共分为三章。第一章是对相关史料及现存五岳壁画情况的梳理。该章重点探讨了“五岳”名称来源问题，确定了“五岳”一词出现的大致时间，指出该词的产生与原始宗教信仰及大一统的国家观念密切相关，，并直接影响到后来五岳神祗图像的形成。第二章重点探讨了以永乐宫为代表的六处道教壁画中的五岳神祗位业，针对各处壁画及建筑所呈现出的特点，初步建构起各具体道教殿堂五岳壁画神祗谱系。在探讨永乐宫三清殿壁画八位主神身份时，本人充分关注到壁画与古建及全真教之间的关系，对壁画神祗布局作出新的诠释。第三章是在第二章基础上的进一步阐发，该章通过对第二章各壁画神祗位业的归纳、梳理，初步建构起以道教朝元系统、国家岳庙祭祀系统以及民间岳庙祭祀系统为主体的五岳神祗图像谱系，并结合各具体神祗所呈现出来的特点将其归纳到一个框架中进行探讨，从而建立起一个包括五岳山神、雩祭神、方位神、时序神、福佑神以及地府神祗在内的总的道教壁画五岳神祗谱系。该谱系的建立，是国家、宗教及民间三股力量共同作用的结果，反映了古人意图谋求天地水三界以及四时、五方和谐共生的理想社会结构模式。
[Abstract]:As a unique historical and cultural phenomenon, Wuyue has always played an important role in ancient Chinese society. As one of its important forms of expression, Taoist murals of Wuyue also became the carrier of social and cultural dynamics in various periods. This paper selects the images of the gods of the five mountains of Taoist murals as the research object, through combing and analyzing the status of the gods of the five mountains in the existing Taoist murals, it preliminarily constructs the pedigree of the gods of the five mountains among the Taoist murals, and through the discussion of the divinity of the five mountains, This paper attempts to interpret the ideological system and logical conception that govern the construction of murals, that is, the ideological issues of the construction of ancient murals. The thesis is divided into three chapters. The first chapter is the related historical data and the extant Wuyue murals combing. The chapter focuses on the origin of the name "Wuyue", determines the approximate time when the word "Wuyue" appeared, and points out that the origin of the word is closely related to the primitive religious beliefs and the concept of unification. And directly affected the formation of the image of the gods of the five Mountains. The second chapter mainly discusses the Wu Yue deity position industry in the six Taoist frescoes represented by Yongle Palace. According to the characteristics of various murals and buildings, the author preliminarily constructs the genealogies of the five mountains frescoes in the Taoist temples and halls. In the discussion of the eight main gods of the frescoes in the third Temple of Yongle Palace, I pay full attention to the relationship between the murals and the ancient architecture and Quanzhen religion, and make a new interpretation of the layout of the frescoes. The third chapter is a further analysis on the basis of the second chapter. By summing up and combing all the mural divinities of the second chapter, this chapter preliminarily constructs the Taoist system of the Dynasty and Yuan Dynasty. The national Yue Temple sacrifice system and the folk Yue Temple worship system are the main part of the image pedigree of the five Yue gods, and combined with the characteristics of the specific gods, they are summed up into a framework for discussion, and thus the establishment of a five mountain gods including the five mountains. Rain, azimuth, timing, blessing, and the Divine, including the total Taoist frescoes Wuyue deity pedigree. The establishment of the pedigree is the result of the joint action of the three forces of the state, religion and folk, which reflects the ideal social structure model of the ancient people's intention to seek the three boundaries of heaven, earth and water and the harmonious coexistence of the five parties at 04:00.
【学位授予单位】：中央美术学院
【学位级别】：博士
【学位授予年份】：2007
【分类号】：B959;K879.41

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