东传日本的黄檗宗“列祖源流图”研究  

Research on the“Ancestor Origin Painting”of the Obaku that Spread Eastward from China to Japan

作　　者：施錡 SHI Qi

机构地区：[1]华东师范大学美术史论研究所,上海200241

出　　处：《海峡人文学刊》2023年第4期138-149,156,共13页Journal of Humanities Across the Straits

基　　金：浙江省文化研究工程重点项目“中日禅宗绘画艺术图像交流与文明互鉴研究”(21WH70082-7Z);中央高校基本科研业务费项目华东师范大学引进人才启动费项目(2020ECNU-HLYT042)。

摘　　要：黄檗宗的列祖源流图融合了诸多中国明清时代肖像画的样式。这是将自隐元隆琦禅师东渡之后的法脉集于一图的群像画,多用于仪式之中。列祖源流图的图像源头大致有三种,一种多受明清行乐图形态的影响,采用文人雅集元素,陈列奇趣器物,体现了物质文化与个人品味;第二种模仿释迦三尊、灵山法会等道释画;第三种则受明清之际宗族祖先“代像”的影响,也受到明清时期福建地域画家创作的人物画风格以及早期传入日本的中国视觉文化的影响。The Obaku’s Ancestor Origin Painting combines many styles of Chinese portraits from the Ming and Qing Dynasties.It is a group portrait that gathers into one painting the Dharma lineage since Chan Master Ingen Ryūki eastward journey.It is mostly used in rituals.There are roughly three sources of images for the Ancestor Origin painting.One type is mostly influenced by the form of the Ming and Qing Dynasties’Out-door Portraits.It adopts the elements of literati gatherings and displays interesting utensils,reflecting material culture and personal taste.The second type imitates the Taoism and Buddhism Paintings of Three Sakyamuni Buddhas and Lingshan Dharma Assembly.The third type is influenced by the“generation portraits”of clan ancestors during the Ming and Qing Dynasties,as well as the figure painting style created by Fujian regional painters during the Ming and Qing Dynasties,as well as the influence of early Chinese visual culture introduced to Japan.

关 键 词：黄檗宗 列祖源流图 行乐图 道释画 

分 类 号：B948[哲学宗教—宗教学]