肖像画影响下的九莲菩萨像

发布时间：2018-06-02 00:08

  本文选题：肖像画 + 明代　； 参考：《世界宗教文化》2016年05期

【摘要】：明代是肖像画最为兴盛的时期,同时也是观音造像的兴盛期。观音形象在这一时期已完全形成本土化特点,在整理前人创作经验和经典图式的同时,明代画家更多地根据民间观音信仰及观音灵验故事选题创作,形成了多种造像范式。文人画家的参与使得这时期的观音造像大异于前,而文人肖像画的流行无疑对明代的观音像创作提供了新的表现形式。九莲菩萨作为李太后佛教尊神身份的象征,在有明一代乃至于清前期,均有很大的影响。而九莲观音画像的创作,最为典型的体现了文人肖像画影响下的观音题材创作。
[Abstract]:Ming Dynasty is the most prosperous period of portrait painting, but also the flourishing period of Quan Yin statue. In this period, the image of Guanyin has completely formed the characteristic of localization. At the same time, while sorting out the previous creation experience and classical schemata, the artists of Ming Dynasty created more topics according to the folk belief of Quan Yin and the fairy stories of Quan Yin, thus forming a variety of image paradigms. The participation of literati painters makes the image of Guanyin in this period very different from before, and the popularity of literati portraits undoubtedly provides a new form of expression for the creation of Quan Yin in Ming Dynasty. Jiulian Bodhisattva, as a symbol of the deity status of Queen Li Buddhism, had great influence in Ming Dynasty and early Qing Dynasty. And the creation of Jiulian Guanyin portrait, the most typical embodiment of literati portrait under the influence of the subject matter of Guanyin creation.
【作者单位】： 中国社会科学院世界宗教研究所;
【分类号】：J219
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本文编号：1966339