乾隆时期“新样文殊”图像的传播与嬗变  

Spread and Changes of The New-Styled Manjusri Image in Emperor Qianlong's Period

作　　者：陈捷[1] 张昕[2] 

机构地区：[1]中央美术学院人文学院 [2]北京工业大学北京市历史建筑保护工程技术研究中心

出　　处：《故宫博物院院刊》2018年第2期110-125,共16页Palace Museum Journal

基　　金：国家自然科学基金资助项目(项目批准号:51008004)成果之一

摘　　要：本文以清乾隆时期宫廷造像活动中"新样文殊"图像的传播与嬗变为中心,以五台山殊像寺文殊像为起始,梳理了丁观鹏画像、香山宝相寺、圆明园正觉寺、承德殊像寺系列文殊像的图像生成过程。同时,探讨了手印诠释、汉藏仪轨交融、造像细部特征重塑及互借等问题,分析了在政治需求和帝王信仰的共同作用下,以藏传佛教为中心的宗教文化对帝室信仰与审美观念的引导和渗透,以及由此引发的艺术风格嬗变。The analysis focusing on the spread and changes of the new-styled Manjuri image in the process of the court Buddhist statues during Emperor Qianlong's(乾隆)period of the Qing Dynasty starts with the Ma?ju?rī statue of Shuxiang Temple in Mount Wutai by reviewing the production of series of Ma?ju?rī images in Ding Guanpeng's paintings, Baoxiang Temple in Xiangshan Hill,Zhengjue Temple in Yuanmingyuan imperial garden and Shuxiang Temple in Chengde, discussing the interpretation of the gestures of Ma?ju?rī images, the blend of the Han and the Tibetan rituals, the reshaped and mixed statue details as well as the impacts that religious culture had upon the imperial belief and aesthetic idea and the changes of art style that followed.

关 键 词：新样文殊 乾隆 五台山 丁观鹏 藏传佛教 

分 类 号：K879[历史地理—考古学及博物馆学]