清代北京月光神祃的图像体系与拜月风俗  

The Image System of the Moonlight Goddess and the Custom of Moon Worship in Beijing during the Qing Dynasty

作　　者：田玉莹 张力丽[1] TIAN Yuying;ZHANG Lili(Jiangsu university,212000 Zhenjiang Jiangsu)

机构地区：[1]江苏大学,江苏镇江212000

出　　处：《设计艺术研究》2023年第4期130-134,共5页Design Research

摘　　要：本文主要探究清代北京月光神祃图像体系中的艺术特征及其背后蕴含的月崇拜文化。月光神祃是指过去民间祭月所用的印有月光菩萨的神像,明清时期在北京地区得到普及发展,且形成了一套体系完整的祭月仪式。本文通过对月光神祃的版式进行归纳整理,分析其设计特点,并通过古籍资料探讨其中人与物的演变过程和具体内涵,总结出清代北京月光神祃的造型特点及其民俗应用。月光神祃作为具有特定象征意义和民俗文化传播的符号,不仅在祭月仪式中起到了关键作用,也传承了北京中秋节的民俗文化。This article mainly explores the artistic characteristics of the image system of the Moon God in Beijing during the Qing Dynasty and the culture of moon worship implied behind it.Moonlight Goddess refers to the deity image with Moonlight Bodhisattva printed on it,which was used in the past for folk worship of the moon.During the Ming and Qing dynasties,it was popularized and developed in Beijing,and formed a complete system of worship ceremonies for the moon.This article summarizes the style and design characteristics of the Moonlight Goddess in Beijing during the Qing Dynasty,analyzes its design features,and explores the evolution process and specific connotation of people and objects through ancient books.It summarizes the modeling characteristics and folk application of the Moonlight Goddess in Beijing during the Qing Dynasty.As a symbol with specific symbolic significance and the dissemination of folk culture,the Moon God not only plays a key role in the ceremony of sacrificing the moon,but also inherits the folk culture of the Mid Autumn Festival in Beijing.

关 键 词：月光神祃 祭月 图像体系 月崇拜 

分 类 号：J218.3[艺术—美术]