山西元明寺庙壁画图像叙事的农本意识——以新绛东岳稷益庙和洪洞广胜寺水神庙为中心  

The Agriculture-oriented Ideology of the Image Narrative of the Frescoes in the Temples of the Yuan and Ming Dynasties in Shanxi:Centered on Xinjiang Dongyue Jiyi Temple and Hongtong Water God Temple

作　　者：段友文[1] 段彤彤 DUAN Youwen;DUAN Tongtong

机构地区：[1]山西大学文学院,山西太原030006

出　　处：《民俗研究》2024年第2期132-145,160,共15页Folklore Studies

基　　金：国家社科基金重大项目“山陕豫民间文化资源谱系与创新性发展的实证研究”(项目编号:19ZDA185)的阶段性成果。

摘　　要：山西寺庙作为传统村落的文化中心,是民众信仰生活和日常生活的集中场域。新绛稷益庙和洪洞水神庙壁画内容皆以我国古代神话传说为题材,呈现了特定历史时期本土农耕生活、祭祀仪式的真实场景。两座民间庙宇壁画中的农事图像,以特定的空间表现了农事活动的时间秩序,展现了元明时期晋南乡村民众应对农事灾害的行动策略。图像化的农业祭祀活动是特定时代国家意志的民间践行,体现了“以礼行俗”的两个面向,即“礼的民间化”和“俗的实践性”,并且逐渐演变为社会观念和文化行为的象征性表达,由此使中国传统社会的农本意识在寺庙壁画的农事图像中得以彰显。As the cultural center of traditional villages,temples in Shanxi are the concentrated field of people's religious life and daily life.The frescoes of Xinjiang Jiyi Temple and Hongtong Water God Temple are based on Chinese myths and legends and show the real scenes of local farming life and sacrificial ceremonies in a specific historical period.From the localized belief of King Ji,the God of Agriculture,and King Mingying,the God of Water,it can be seen that the agricultural images in the frescoes of the two folk temples show the temporal order of agricultural activities in a specific historical period,and exhibit the action strategies of the rural people in southern Shanxi to deal with agricultural disasters in the Yuan and Ming Dynasties.The image-based agricultural sacrifice activities are the folk practice of the national will in a specific era,which reflects the two aspects of“performing customs with rites”,that is,“the folk character of rites”and“the practicality of customs”,and gradually evolved into the symbolic expression of social perception and cultural behavior.The agricultural consciousness of Chinese traditional society is manifested in the agricultural images of temple frescoes.

关 键 词：寺庙壁画 农事图像 图像叙事 礼俗传统 农本意识 

分 类 号：B933[哲学宗教—宗教学] J218.6[艺术—美术] K879.41[历史地理—考古学及博物馆学] K247[历史地理—历史学] K248K892.2