宋元真武图像、信仰的演变与内涵再探  

Re-exploring the Evolution and Meaning of Zhenwu Images and Reverence During the Song and Yuan Dynasties

作　　者：许金凌 Xu Jinling(Hubei Institute of Fine Arts)

机构地区：[1]湖北美术学院

出　　处：《美术》2024年第9期102-109,共8页Art Magazine

摘　　要：真武图像显示出“武神”和“非武神”两条发展序列,宋代已出现少量“非武神”真武像但仍以“武神”像居多。元明时期则出现了多样化的“非武神”真武像。学界对此转变发生的时间和原因仍有争议。本文关注元代出现的描述真武于武当山修炼时的灵应故事和版画图像的特殊表达,定义真武修真像为束双髻、披松萝衣的装扮,认为元代真武信仰演化出修真意涵,双髻真武修真像是“非武神”真武像发展的源头和信仰转型的开端。Zhenwu images fall into the two categories of"martial deity"and"non-martial deity".During the Song Dynasty,a small number of"non-martial deity"images appeared but"martial deity"ones were still the majority,whereas the Yuan and Ming Dynasties witnessed the emergence of various"non-martial deity"images.Questions over when and why such a change happened still remains in the academic community.This article focuses on legends of Zhenwu's cultivation of the Tao at the Wudang Mountains and the special expression of prints that appeared during the Yuan Dynasty,and defines the image of Zhenwu's cultivation of the Tao as a figure with two buns and wearing usnea clothes.It believes that the meaning of Tao cultivation originated from the reverence for Zhenwu during the Yuan Dynasty and that the two-bun Zhenwu image was the origin of"non-martial deity"images and the beginning of reverence changing.

关 键 词：非武神真武像 真武修真像 宋元道教 真武灵应故事 

分 类 号：K244[历史地理—历史学] K247[历史地理—中国史] J217[艺术—美术] B958[哲学宗教—宗教学]