日藏“摩尼降诞图”再解读  

A study on the Painting of the birth of Mani in Japanese collection

作　　者：王媛媛[1] 

机构地区：[1]中山大学历史系

出　　处：《西域研究》2014年第3期77-85,143,共9页The Western Regions Studies

基　　金：教育部哲学社会科学重大课题攻关项目"7~16世纪中国南部边疆与海洋经略研究"(项目编号:1JZD013)阶段性成果

摘　　要：2012年,一幅日本私人收藏的中国元代绢画引起了摩尼教学界的关注,该画被日本学者名为"摩尼降诞图"。本文在诸学者研究的基础上,对图像与相关文献记载进行比较研究,指出此画所据之主要文本更有可能是《老子化胡经》,而非唐以后流传于中原的摩尼降诞故事。该画包含了复杂的宗教文化元素,应是一幅融合了宋元时期道教、明教等多种宗教及本土文化因子的民间绘画。A Chinese silk painting of the Yuan Dynasty in Japanese private collection interested Manichaean academia in 2012. Japanese scholars called it the birth of Mani. Based on academic achievements available and comparison of this painting with related historical recordings,this paper argued that the textual source of this painting is more probably Lao-Zi-Hua-Hu-Jing( a text about a saying that Laozi civilizes Hu people) than the story of the birth of Mani which circulated in Central Plain from Tang Dynasty. This painting contains complicated religious elements,therefore,it should be a folk painting compromising multiple religions like Taoism and Ming Jiao( Moni religion rooted in China) of Song and Yuan dynasties and native cultures at that time.

关 键 词：摩尼 诞生故事 《老子化胡经》 明教 道教 摩尼降诞图 

分 类 号：B989.1[哲学宗教—宗教学]