法相威仪:《吴全节十四像并赞卷》法服像研究  

The Iconography and Ritual Attire:A Study of Ritual Attire on Wu Quanjie’s Fourteen Portraits and Calligraphy Scrolls

作　　者：陈粟裕[1] 张建宇[2] Chen Suyu;Zhang Jianyu

机构地区：[1]中国社会科学院世界宗教研究所 [2]中国人民大学艺术学院

出　　处：《艺术设计研究》2024年第5期11-18,共8页Art & Design Research

基　　金：北京市政协“宗教中国化北京故事服饰文化篇”项目阶段性研究成果。

摘　　要：美国波士顿美术博物馆藏《吴全节十四像并赞卷》表现了元代玄教第二代掌教吴全节一生中的14个重要场景,其中六幅描绘了举行道教仪式时穿着道服的法衣像。这些画像忠实反映了元代玄教高道的法服制度,其中玉环、如意莲花冠和织金法服体现了吴全节与蒙元帝王的交往细节,填补了今人对元大都道教服饰传统的认知空白,对于服饰史和道教史研究均具有重要价值。Wu Quanjie’s Fourteen Portraits and Calligraphy Scrolls housed in the Museum of Fine Arts,Boston depicts 14 important scenarios from the life of Wu Quanjie,the second patriarch of Xuanjiao,during the Yuan Dynasty.Among these,six paintings illustrate the Taoist ritual attire worn during ceremonies.These images accurately reflect the ritual attire system of high-ranking Taoists in the Yuan Dynasty and showcase details of Wu Quanjie’s interactions with the Mongol rulers of the Yuan Dynasty through elements like jade rings,lotus crowns with auspicious cloud patterns,and brocaded garments.This study fills the gaps in the understanding of the Taoist clothing traditions in the capital of the Yuan Dynasty,offering significant value to the research of costume history and Taoist history.

关 键 词：吴全节 玄教 道服制度 织金锦 

分 类 号：J523[艺术—艺术设计]