“飞天羽人”图像礼仪功能探蠡  

Study on Etiquette Function of "Flying Apsaras and Feathered Men" Image

作　　者：刘璟 Liu Jing

机构地区：[1]故宫博物院

出　　处：《美术》2022年第5期114-119,共6页Art Magazine

基　　金：国家社科基金重大项目“敦煌中外关系史料的整理与研究”(批准号19ZDA198)的阶段性研究成果。

摘　　要：“飞天羽人”是中国本土文化中常见的艺术形象,由印度生成,经由中亚而传入中国后实现了华化之演变。其虽植根于佛教天人思想,但受到道教飞仙和中国传统文化中天人意识的深刻影响,这在汉画像砖(石)和敦煌壁画中有着突出的反映。中国本土文化中有翼的“羽人”和佛教文化中的飞天融为一体,经不同时代的演变,再与西方有翼之“天使”汇合于敦煌与西域等地,体现出中西文化交融的显著特性。“飞天羽人”是中华民族文化中既能表现中国哲思精神,又能体现中国艺术最初的“审美理想”和“审美经验”的艺术形象,堪称典型的民族文化符号,乃中西文化交流之结晶,然究其实质,则为其通过宗教形式而得到社会认可的礼仪功能。"Flying apsaras and feathered men" is a common artistic image in Chinese native culture,created in India and then introduced to China through central Asia.Although the image is rooted in the Buddhist thought of nature and man,it is deeply influenced by the Taoist flying immortals and the consciousness of nature and man in the traditional Chinese culture,prominently reflected in the portrait bricks(stones) of the Han Dynasty and the Dunhuang mural.The winged "feathered men" of the Chinese native culture blended with the "flying apsaras" of Buddhist culture,and then merged with the western winged "angel" in Dunhuang and other western regions,reflecting the remarkable characteristics of the integration of Chinese and Western cultures. "flying apsaras and feathered men" is an artistic image in Chinese native culture,which can not only express the Chinese philosophical spirit,but also reflects the original "aesthetic ideal" and "aesthetic experience" of Chinese art.It is regarded as the typical symbol of national culture and the crystallization of cultural exchanges between China and the West,and its essence is the ceremonial function recognized by society through religious forms.

关 键 词：汉画像砖(石) 佛教 本土文化 敦煌壁画 

分 类 号：J209[艺术—美术]