木雕“倒立菩萨”文化隐喻的人类学思考  

Anthropological Thinking on cultural Metaphor of Wood Carving "Handstand bodhisattva"

作　　者：李东风[1] Li dongfeng(college of fine arts,China west normal university,nanchong,sichuan 637009,China)

机构地区：[1]西华师范大学美术学院,四川637002

出　　处：《内蒙古艺术学院学报》2021年第4期117-121,共5页Journal of Inner Mongolia Arts University

基　　金：国家社科基金艺术学项目“艺术人类学视野下城市艺术区的景观生产与景观消费理论研究”(项目编号:20BA015)系列研究论文;江苏省高校哲学社会科学重大项目“基于艺术学立场的艺术民族志理论方法研究”(项目编号:2020SJZDA026)阶段性研究成果。

摘　　要：“倒立菩萨”是目前所能见到的唯一倒立的神祗,揭示其神秘性需要把文本和图像两方面的信息整合起来,对其进行艺术人类学的通观考察,才能探究它的文化隐喻,考释它的象征蕴涵。本文从其命名和传说切入,以“倒立菩萨”是人之出生的形象表现,隐喻了“生”之哲学观。“倒立菩萨”的传说与形象信息的整合,说明它与盘古开天地有某种联系,是“天人同构”宇宙观的体现。"Handstand Bodhisattva"is the only god who can be seen upside-down at present.To reveal its mystery,it is necessary to integrate the information from both text and image,and give a general survey of artistic anthropology,so as to explore its cultural metaphor and explain its symbolic implication.Starting from the aggregation of its name and legend,this paper explores that"Handstand Bodhisattva"is the image representation of human being's birth,a metaphor for the philosophy of"life",and the integration of the legend and image information of"Handstand Bodhisattva".which shows that it is connected with the creation of heaven and earth in Pangu,and is the embodiment of the cosmology of"the isomorphism of nature and man".

关 键 词：倒立菩萨 文化隐喻 集合性 哲学观 宇宙观 

分 类 号：G122[文化科学]