“白面关公”:清代“关公”唐卡所见多民族信仰交融与形像再造  

"White-faced Guan Gong":The Fusion of Multi-ethnic Beliefs and Image Reconstruction as Seen in Qing Dynasty"Guan Gong"Thangkas

作　　者：曾靖柔 Zeng Jingrou

机构地区：[1]中国人民大学艺术学院,北京100872

出　　处：《西藏研究》2024年第4期60-75,M0004,M0005,共18页Tibetan Studies

摘　　要：18世纪始,关公先后以武圣关帝与藏传佛教护法神“真仁杰布”等身份深入蒙藏地区,与当地岭·格萨尔信仰交汇。关公与格萨尔王分别为汉、藏文化圈中的战神,二者神格职能相近,相关文学、图像叙事也被相互比附,以致蒙藏地区广泛出现了将关公称作格萨尔、关帝庙称作格萨尔拉康的文化现象。“白面关公”唐卡应是关公信仰深入蒙藏地区后,与格萨尔信仰融合而成的视觉化呈现,体现出关公信仰在清代多民族交往交流交融中的突出意义。From the 18th century onwards,Guan Gong penetrated the Mongolian and Tibetan regions in the roles of Martial Sage Guan Di and the Tibetan Buddhist Dharma protector"Drinrin Gyalpo"(Wylie:sprin ring rgyal po)among others,converging with the local Ling Gesar belief.Guan Gong and King Gesar are war deities in Han and Tibetan culture respectively,with similar divine functions and comparable literary and visual narratives.This led to the widespread cultural phenomenon in Mongolian and Tibetan regions of referring to Guan Gong as Gesar and Guan Di temples as Gesar Lhakhangs.The"White-faced Guan Gong"thangka appears to be a visual representation resuling from the fusion of Guan Gong belief with Gesar belief after Guan Gong worship penetrated the Mongolian and Tibetan regions.This reflects the significant meaning of Guan Gong belief in the multi-ethnic interactions and cultural integration during the Qing dynasty.

关 键 词：“白面关公” 藏传佛教 关公信仰 蒙藏地区 战神 

分 类 号：J219[艺术—美术] B933[哲学宗教—宗教学] K249[历史地理—历史学]