神怪图像知识生产——皮影泰逢图像的层累与重构  

Knowledge Production Relating to the Figure of Deities and Monsters:A Study of the Evolution and Reconstruction of the Images of the Shadow Puppetry Taifeng

作　　者：李龙 Li Long

机构地区：[1]成都博物馆 [2]成都中国皮影博物馆

出　　处：《艺术与民俗》2024年第3期12-20,共9页Journal of Arts and Folklore

摘　　要：皮影艺术图像蕴含着繁杂且多源、多歧、多变的神话理解与创造。从借鉴继承、信息丢失到创造重构的进路,是文化与艺术遗产传承发展的必然路径。泰逢等较多皮影神怪图像与明清以来的《山海经图》有直接的亲缘关系,具有较为明显的图式规范性特征。由于图像的原初意义信息不断丢失,所指及使用场域不断被重新创造与增加,皮影神怪图像已然从图式出发形成了新的知识。《山海经》为皮影神怪图像创作提供图式借鉴,皮影神怪图像又进一步丰富了《山海经》的内容体系。The progression from borrowing and inheriting,then information loss,to creation and reconstruction,is an inevitable path for the development of culture and art.Many shadow puppet mythical figures,such as Taifeng,have a direct lineage relationship with the Shanhaijing Tu(Ilustrated Classics of Mountains and Seas)since the Ming and Qing dynasties,exhibiting relatively distinct formal normative characteristics.Due to the continuous loss of the original meaning of the images and the constant recreation and expansion of reference and usage contexts,new knowledge has been produced based on these shadow puppet mythical images.Shanhajing provides iconographic references for creating shadow puppet mythical images,which in turn further enrich the content of the Shanhajing.

关 键 词：皮影 神怪 泰逢 图像 知识 

分 类 号：K890[历史地理—民俗学]