江南式白衣观音造型分析

发布时间：2018-04-15 16:09

本文选题：江南式白衣观音 + 数珠手观音　；参考：《故宫博物院院刊》2014年04期

【摘要】：五代时期,在中晚唐白衣观音造型的基础上,江南地区率先创造出一种冠搭披风且与外衣一体化、两手在腹前交叉并持数珠的新样观音,本文称之为江南式白衣观音。江南式白衣观音,两宋时期以雕塑为主体,在南方地区迅速发展演变,又促成了数珠手观音等新形式;元明清时期,这种白衣观音图像以绘画、线刻为主,且风行大江南北,进而与水月观音、送子观音、善财童子图像融合,被赋予新时代文化内涵。江南式白衣观音图像的发展,展现了佛教艺术大众化、民俗化的过程。
[Abstract]:In the period of five dynasties, on the basis of the Guanyin modeling in the middle and late Tang Dynasty, the south of the Yangtze River first created a new kind of Guanyin with a crown and cloak integrated with the coat, with two hands crossing in front of the abdomen and holding several beads. This article is called Jiangnan type Guanyin.In the south of the Yangtze River, the white clothing Guanyin, with sculpture as the main body in the Song Dynasty, developed rapidly in the southern region, and promoted several new forms, such as the pearl hand Guanyin, etc. During the Yuan, Ming and Qing dynasties, this white dress Guanyin image was mainly painting, line engraving, and popular in the north and south of the river.And then with the Shuiyue Guanyin, send son Guanyin, good money child image fusion, given the cultural connotation of the new era.The development of Jiangnan-style Guanyin image shows the process of the popularization of Buddhist art and folklore.
【作者单位】：清华大学美术学院;
【分类号】：B949

【相似文献】