文化认同与艺术重构——宋代《大理国梵像卷》和清代摹本《法界源流图》比较研究  

Cultural Identity and Artistic Reconstruction——A Comparative Study of Buddhist Images Hand Scroll of the Dali Kingdom of the Song Dynasty and the Dharmahatu Scroll of the Qing Dynasty

作　　者：邓启耀 DENG Qiyao

机构地区：[1]广州美术学院视觉文化研究中心,广东广州510006

出　　处：《思想战线》2021年第6期30-42,共13页Thinking

基　　金：国家社会科学基金艺术学重大项目“多民族艺术交融与中华民族认同研究”阶段性成果(20ZD27)。

摘　　要：12世纪,中国西南地方少数民族政权大理国诞生了一幅绘画长卷名作《大理国梵像卷》。500多年后,实现一统的大清皇帝命宫廷画师在藏传佛教僧侣指导下,对《大理国梵像卷》进行分解和临摹,形成《法界源流图》和《蛮王礼佛图》两个摹本。分析《大理国梵像卷》和《法界源流图》(《蛮王礼佛图》已轶)在整体结构和表现细节上的差异可以看到,这一从原作到摹本的“仿制”式艺术重构,由于时空差异、国家思想差异和权力关系差异,实际上已经成为统一国家意志下的政治规训和文化再造事件。两件视觉历史文本,显示了不同时代不同身份在国家思想、图像认知和艺术表现上的微妙差异,透露出中国社会变迁和文化认同的丰富历史信息。The Buddhist Images Handscroll was painted during the period of Dali Kingdom,a local regime set up by ethnic minorities in Southwest China in the Song Dynasty.More than five hundred years later,the founding emperor of the Qing Dynasty,who had achieved unification of the country,ordered his court painters to decompose and copy the scroll under the instruction of Tibetan Buddhist monks,resulting in two copies,“Dharmadhatu Scroll”and“Man-wang lI-Fo-Tu(Barbarian Kings Worshipping the Buddha)”An analysis of the differences between the overall structure and details of the original and the Dharmahatu Scroll(Man-wang Li-Fo-Tu is lost)shows that the artistic reconstruction of the original was very much a cultural and political reconstruction that embodies the will of the unified state due to the differences in time and space,national ideology and power relations.They also show the subtle differences that had occurred over time in state ideology,image perception and artistic expression,revealing rich historical information about China’s social changes and cultural identity.

关 键 词：大理国梵像卷 法界源流图 文化认同 艺术重构 

分 类 号：C915[经济管理]