图像的救赎—拜占庭圣像中的基督形象研究

发布时间：2018-06-19 14:21

本文选题：拜占庭圣像 + 东正教　；参考：《山东大学》2016年硕士论文

【摘要】：圣像艺术是基督教艺术的一个独特形式,它脱胎于早期基督教艺术,并在东正教的拜占庭帝国中达到其发展的顶峰。基督像是其中最重要的一个门类,也是其它圣像的根基。如果说圣像是图像的神学,那么基督像就是圣像中的基督论。基督论在拜占庭时期经历了几番激烈的争辩,最终于卡尔西顿大公会议确立了基督三位一体、神人二性的正统教义。同时,圣像在发展的过程中,其艺术表现手法一方面遵循着艺术史的规律发展,一方面又不断得到来自东正教信仰的修正。在两次圣像破坏运动中,圣像支持者成功战胜了反对者,深化了自己的理论,最终形成了圣像的成熟面貌与固定的程式以及圣像学。圣像具有独特的艺术特征,其艺术性是为宗教性服务的。区别于希腊式的西方艺术,圣像并不追求美的理念,而是追求表现基督耶稣的位格与神性的荣光。拜占庭圣像以东正教传统为依托,形成了一个基督形象为中心的形象链条,人在此链条中与基督相通,并被“神化”,由此而得到救赎。由于基督像描绘的是上帝,也即终极存在,所以基督像具有本体论的意义。东正教的基督论为圣像的本体论提供了理论的支撑。基督论决定着基督像及其它圣像的存亡和发展变化,而东正教与天主教在基督论与救恩论上的分歧,也使拜占庭圣像产生了其独特的艺术魅力。本文旨在介绍圣像艺术的的基本特征的同时,通过发掘基督论与基督像之间的关系来阐明基督像的神学意涵。
[Abstract]:Figurative art is a unique form of Christian art. It originated from early Christian art and reached its peak in the Byzantine Empire of the Eastern Orthodox Church. Christ is one of the most important of these, and the foundation of the others. If the statue is the theology of the image, then the image of Christ is the Christology in the image. During the Byzantium period, Christology went through several heated debates, and finally established the orthodoxy of the Trinity of Christ and the Divine and Human Divinity at the Grand Duchy of Carthisten. At the same time, in the process of development, the artistic expression method of the statue follows the law of art history, on the other hand, it gets the revision from the Eastern Orthodox faith. In the two icon destruction campaigns, the icon supporters succeeded in defeating the opponents, deepened their own theory, and finally formed the mature appearance and fixed procedure of the statue, as well as the iconography. The figure has its unique artistic features, and its artistry serves religion. Different from Greek Western art, the image pursues not the idea of beauty, but the glory of the character and divinity of Christ Jesus. Depending on the Orthodox tradition, the Byzantine statue forms a chain of images centered on the image of Christ, in which man is connected with Christ and "deified", thus being redeemed. Because the image of Christ depicts God, that is, the ultimate being, the image of Christ has ontological significance. The Christian theory of the Eastern Orthodox Church provides theoretical support for the ontology of the icon. Christology determines the survival and development of the image of Christ and other sacred figures, and the differences between the Orthodox Church and the Catholic Church in the theory of Christ and salvation also make the Byzantine icon have its unique artistic charm. The purpose of this paper is to explain the theological meaning of the image of Christ by exploring the relationship between Christology and the figure of Christ while introducing the basic characteristics of the art of the saint.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J219

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