对日本藏“江南摩尼教绘画”的一点思考  

Reflections on the “Manichaean Paintings from the Areas South of the Yangzi River” in Japan

作　　者：王媛媛[1] Wang Yuanyuan

机构地区：[1]中山大学历史系

出　　处：《海交史研究》2019年第3期52-65,共14页Journal of Maritime History Studies

基　　金：新疆维吾尔自治区人文社会科学重点研究基地西域文史研究中心项目《8-10世纪的回鹘摩尼教》(项目编号:XJEDU040216B03)

摘　　要：近年,日本陆续发现的几幅宋元时期的中国绢画引起了学界关注。多位中外学者从艺术和文献角度论证其摩尼教属性。本文从东南明教艺术源流及明教文献两方面入手,提醒人们在讨论东南明教艺术时较易忽略的问题:一、在做艺术对比时,需注意,从回鹘艺术到唐代中原绘画,再到宋元明教绘画,横跨数个世纪,宗教艺术的表现手法和风格等均已出现复杂而多重的变化;二、在寻找日藏绢画的文本依据时,宋以后的民间宗教文献更值得关注。因为日藏所谓“江南摩尼教绘画”,就其图像本身和文献依据而言,来源均在中原民间。The Chinese silk paintings dated from the Song and Yuan dynasties found in Japan in recent years have attracted considerable academic attention.Some scholars from both at home in China and abroad are of the opinion that they were Manichaean paintings based on the studies of arts and literature.This article examines the artistic source and religious documents of Mingjiao in Southeast China during the Song and Yuan dynasties,and emphasizes two issues which tend to be neglected by researchers.First,from Uyghur paintings to the Tang paintings and to the Mingjiao paintings,we should realize that there had been comprehensive changes in the artistic techniques and styles of Manichaean arts during centuries of development as Manichaeism spread from the Central Asia to Central China and then to the coastal area of Southeast China.Second,we should pay more attention to sources on Chinese popular religion after the Song Dynasty.In fact,judging from the pictures and related documents,the so-called Japanese collection called“Manichaean Paintings from the Areas South of the Yangzi River”must have come from the folk society of Central China.

关 键 词：明教 绘画 民间宗教 

分 类 号：K87[历史地理—考古学及博物馆学]