摘要
三国至五代时期的关羽图像存而不详;宋金元为其多元的滥觞期;明清则是文武并存的人、神、帝繁荣景象.图像是神存身之所,世人认为关羽图像能自我完善保护,有御敌、治病、除恶、帮助科举功名、举子、避水火灾祸、驱邪等功能;以广像、重饰等行为,示其虔诚.关羽图像是造神运动和世俗化过程交互缠绕的结果,经历了由人而神而圣再回复到人的过程,是儒、释、道三教和民间信仰相互排斥、吸收和交融的产物;神之灵否与像之优劣及信徒虔诚度成正比;关羽图像分文人画和世俗画,二者共同构成关羽画像的丰富繁荣;其流变是各种艺术交互影响的过程和结果.
Abstract
The imagery of Guan Yu from the Three Kingdoms to the Five Dynasties period was sparse yet existed.The dynasties of Song,Jin,and Yuan marked a period of diverse origins for depictions.The Ming and Qing dynasties wit-nessed a flourishing portrayal of Guan Yu as a man of letters and arms,revered as both a divine and imperial figure.An image serves as the abode of the divine,and it is widely believed that Guan Yu's imagery possesses the ability to self-perfect and protect,offering functions such as warding off enemies,curing illnesses,eradicating maladies,aiding in scholarly achievements,blessing with progeny,preventing calamities,and expelling malevolent forces.Devotion is dem-onstrated through the creation of grand images and the act of re-adorning them,signifying piety.Guan Yu's imagery is an intertwined outcome of the deification movement and the secularization process,undergoing a transformation from hu-man to divine,to sage,and then back to human.It represents the interplay of exclusion,absorption,and integration a-mong Confucianism,Buddhism,Taoism,and folk beliefs.There is a positive correlation between the perceived divinity,the quality of the imagery,and the devoutness of the followers.Guan Yu's imagery is categorized into literati and secu-lar paintings,both of which contribute to the rich tapestry of his iconography.The evolution of his portrayal is a testa-ment to the cross-influence of various artistic expressions.
NETL
NSTL
万方数据