明清佛教水陆画与道教斋醮画图像表现异同辨析  

A Comparative Analysis of the Visual Representation in Buddhist Shuilu Paintings and Daoist Zhaijiao Paintings during the Ming-Qing Period

作　　者：马梦莹 Ma Mengying

机构地区：[1]广东省博物馆(广州鲁迅纪念馆)

出　　处：《艺术与民俗》2023年第3期46-55,共10页Journal of Arts and Folklore

摘　　要：明清佛教水陆画与道教斋醮画在绘画题材上存在主尊、祖师、弟子等差异,也存在大量题材相同的神祇。二者在视觉表达方面,当处理相同题材时,存在构图、空间、色彩及细节的差异。在处理不同题材时,由于粉本相近,存在地区风格与细节的相似。佛教水陆画与道教斋醮画的差异源于不同的宗教属性,体现出佛道宗教义理、神系、仪式以及仪式空间构建上的不同。水陆画与斋醮画在绘画题材上的相似,体现出佛教水陆仪轨对道教神祇的吸收,以及明清民间社会佛道融合的潜流。视觉表现上二者的风格与细节的相似则体现出民间宗教美术图像生成的特点,即地区内流行的粉本图式趋于统一。The main deities,patriarchs,and disciples in Buddhist shuilu paintings and Daoist zhaijiao paintings of the Ming-Qing period differ,but at the same time,numerous identical Daoist figures appear in both types of paintings.Regarding visual representation,when dealing with the same subject matter,there are differences in composition,space,color,and details in shuilu and zhaijiao images.However,due to the use of similar fenben,similarities are found in regional styles and details when dealing with different subject matters.The differences between Buddhist shuilu paintings and Daoist zhaijiao paintings point to fundamental differences in their religious attributes,reflecting the variations in Buddhist and Daoist doctrines,deities,rituals,and the construction of ritual spaces.The similarities in their painting motifs reflect the absorption of Daoist gods into the Buddhist shuilu ceremonies and the underlying integration of Buddhism and Daoism in folk society during the Ming-Qing period.The similarities in regional styles and pictorial details indicate the characteristics of folk religious art production,where shared fenben have formed visual consistency among different regions.

关 键 词：佛教水陆画 道教斋醮画 水陆法会 斋醮仪式 

分 类 号：J209[艺术—美术] K879.41[历史地理—考古学及博物馆学]