宗教传播中的图像误读——以《程氏墨苑》中的圣像画为例

发布时间：2018-04-14 19:07

本文选题：程氏墨苑 + 圣像画　；参考：《中国国家博物馆馆刊》2017年04期

【摘要】：《程氏墨苑》中的四幅圣像画是明朝中后期天主教传入中国的一个例证。圣像画的赠予者利玛窦希望以此来传播宗教,受赠者程君房则希望以此来增加《程氏墨苑》的市场竞争力,而执笔者丁云鹏对这些圣像画做出艺术上的处理,最终形成书籍流通过程中的圣像画面貌。本文分别从礼物、宗教图像文本和版画制作艺术的角度分析这些圣像画,讨论艺术品在文化交流和传播过程中所起到的媒介作用,以及不同文化对于艺术品的本土改造和有意误读。通过《程氏墨苑》中这四幅宗教绘画的境遇,可见中国绘画于明末清初所面临的西方绘画技法冲击,以及中国艺术家对于这种冲击所做出的解读和回应,这也从另一个角度说明了宗教艺术在不同文化语境中所面临的困境和挑战。
[Abstract]:The four sacred paintings in Cheng's Moyuan are an example of the introduction of Catholicism into China in the middle and late Ming Dynasty.Matteo Ricci, the giver of the sacred paintings, hopes to spread religion in this way, while the grantee Cheng Junfang hopes to increase the market competitiveness of the "Cheng's Moyuan", and Ding Yunpeng, the author of the work, has made an artistic treatment of these paintings.Finally, the form of books in the circulation of the face of the figure painting.This paper analyzes these images from the angle of gift, religious image text and printmaking art, and discusses the media function of art in the process of cultural exchange and dissemination.As well as different cultures of the art of local transformation and intentional misreading.Through the circumstances of these four religious paintings in "Cheng's Moyuan", we can see that Chinese paintings faced the impact of Western painting techniques in the late Ming and early Qing dynasties, as well as the interpretation and response made by Chinese artists to this kind of impact.It also illustrates the dilemma and challenge of religious art in different cultural contexts.
【作者单位】：中央美术学院;
【分类号】：J219

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