清代江华瑶族神像画中大小海幡的图像研究
发布时间：2018-08-16 08:16
【摘要】：海幡是瑶族祖神,在道教传入后被纳入瑶传道教神系供奉至今。课题组在一批清代瑶族神像画中观察到,海幡神像画明显比其他的神灵像多,在每一套神像画里大多会有两张,分为大海幡和小海幡;同时发现海幡图像内容不仅保留了瑶族原始宗教特征,还融合了汉族文化。鉴于神像画对固化瑶族文化传承起着重要作用,而学术界对其中的海幡研究极少,所以本文从界定大小海幡出发,对比二者异同,讨论各自深刻的宗教寓意和丰富的文化内涵,以探究瑶族复杂的宗教变迁状况和多元一体的文化特色。
[Abstract]:Haifan is the ancestor god of Yao nationality, which was incorporated into the Yao Taoist Shrine system after Taoism was introduced to this day. The subject group observed in a group of paintings of Yao gods in Qing Dynasty that there were obviously more sea banners than other deities, and in each set of paintings there would be two pictures, which were divided into sea flags and small sea flags. At the same time, it is found that the content of Haibanan not only retains the original religious characteristics of Yao nationality, but also integrates Han culture. In view of the important role of the idol painting in solidifying the cultural heritage of the Yao nationality, and the academic research on the sea banners is very few, this paper starts from defining the size of the sea flags, contrasts the similarities and differences between the two, and discusses their profound religious connotations and rich cultural connotations. In order to explore the complex religious changes of Yao and the cultural characteristics of multiple integration.
【作者单位】： 四川师范大学美术学院;
【基金】：国家社会科学基金青年项目“数字化背景下西南地区明清、民国道教水陆画的抢救、整理与研究”(编号:14CZJ013)阶段性研究成果
【分类号】：J219
本文编号：2185418
[Abstract]:Haifan is the ancestor god of Yao nationality, which was incorporated into the Yao Taoist Shrine system after Taoism was introduced to this day. The subject group observed in a group of paintings of Yao gods in Qing Dynasty that there were obviously more sea banners than other deities, and in each set of paintings there would be two pictures, which were divided into sea flags and small sea flags. At the same time, it is found that the content of Haibanan not only retains the original religious characteristics of Yao nationality, but also integrates Han culture. In view of the important role of the idol painting in solidifying the cultural heritage of the Yao nationality, and the academic research on the sea banners is very few, this paper starts from defining the size of the sea flags, contrasts the similarities and differences between the two, and discusses their profound religious connotations and rich cultural connotations. In order to explore the complex religious changes of Yao and the cultural characteristics of multiple integration.
【作者单位】： 四川师范大学美术学院;
【基金】：国家社会科学基金青年项目“数字化背景下西南地区明清、民国道教水陆画的抢救、整理与研究”(编号:14CZJ013)阶段性研究成果
【分类号】：J219
【相似文献】
相关期刊论文 前6条
1 杨卫;;时间的嵌刻——关于段江华的艺术[J];创作与评论;2014年12期
2 段江华;;段江华油画作品欣赏[J];创作与评论;2014年12期
3 余丁;;不朽的天空——段江华的油画作品解读[J];创作与评论;2014年12期
4 阮江华;;阮江华作品[J];中国美术;2014年03期
5 水天中;徐虹;;伸向废墟的天使翅膀——看段江华油画近作[J];创作与评论;2014年12期
6 杨卫;;时间的嵌刻——关于段江华的艺术[J];当代油画;2012年02期
相关硕士学位论文 前1条
1 邓中琴;江华瑶族传统图案的传承与运用[D];湖南师范大学;2014年
，本文编号：2185418
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2185418.html
