南京高淳现存明清时期道教神像画研究

发布时间：2018-06-13 01:29

本文选题：高淳 + 道教神像画　；参考：《上海大学》2014年硕士论文

【摘要】：南京高淳地区是中国道教的一个主要发生与传播区，上世纪八十年代成批量明清时期神像画的发现为研究该地区道教信仰与崇拜提供了重要的实物样本。虽然今天这批神像画已经不再被人们使用，但是它所表现的宗教性和艺术性的价值都是无法忽视的。以此为出发点本篇论文分为三章对这批高淳道教神像画进行分析。第一章包含两个部分。第一部分介绍高淳的道教信仰习俗，作者经过实地考察，着重于当地道教活动历史及现状情况，概括描述当地道教特点和发展情况。第二部分探讨高淳道教神像画的保存现状，对现有神像画基本面貌及保存状况做了统计与估量。第二章分为两个部分，在第一部分里介绍道教神仙谱系的特点和发展，在第二部分中探讨了高淳道教斋醮仪式中道教神仙谱系的特点，，分析该地区道教活动“大场面”中的神像排列谱系，及高淳地区神像组合往来成因，并对高淳地区道教神像谱系的地方性崇拜特点、升格等现象进行梳理分析。在第三章中分析高淳道教神像画的艺术价值，对其艺术风格表现手法、工序、步骤、形象特点、元素符号的运用等进行直观认识与考量。探讨神像画的内涵并且揭示了其所具有的社会价值。在结语中，依据前文所述，高淳道教神像画被看成为受到当地民俗影响并结合道教仪轨和当地民间艺术技法创造而成的结果。研究表明这批道教神像画不仅保存道教神仙谱系的共同点并且还具备高淳当地风俗的特点，作为民间艺人所制作的宗教绘画，世俗民间的世态人情通过线条与色彩的巧妙组合，形成了富有张力的艺术样式，是既具中国古代社会道教神像画色彩又具高淳地方地域道教神像画特征，同时作为雅俗共赏的艺术风貌范式流传至今，是宝贵的文化遗存。
[Abstract]:The Gaochun area of Nanjing is a major occurrence and spread area of Chinese Taoism. The discovery of the statues in the Ming and Qing dynasties in the 1980s provides an important sample for the study of Taoist belief and worship in this area. Although these paintings are no longer used, their religious and artistic values can not be ignored. This paper is divided into three chapters to analyze the paintings of Gaochun Taoist gods. Chapter one consists of two parts. The first part introduces Gaochun's Taoist belief customs. The author, through field investigation, focuses on the history and present situation of local Taoist activities, and describes the characteristics and development of local Taoism. The second part discusses the status quo of the preservation of Gaochun Taoist Statue paintings, and makes statistics and estimates on the basic features and preservation status of the existing Statue paintings. The second chapter is divided into two parts. In the first part, it introduces the characteristics and development of Taoist immortal pedigree, and in the second part discusses the characteristics of Taoist immortal pedigree in Gaochun Taoist ritual. This paper analyzes the lineage of the arrangement of deities in the great scene of Taoist activities in this area, and the causes of the combination of the gods in Gaochun, and analyzes the local worship characteristics and upgrading of the pedigree of Taoist idols in Gaochun. In the third chapter, the author analyzes the artistic value of Gaochun Taoist Statue painting, and makes an intuitive understanding and consideration of its artistic style, process, steps, image characteristics and the use of elemental symbols. This paper probes into the connotation of the portrait painting and reveals its social value. In the conclusion, according to the above mentioned, Gaochun Taoist idol painting is regarded as the result of being influenced by local folk customs and combining Taoist ritual and local folk art techniques. Studies have shown that these Taoist statues not only preserve the common denominator of the Taoist fairy pedigree, but also possess the characteristics of the local customs of Gaochun. As a religious painting made by folk artists, the worldly and folk worldly human feelings are skillfully combined by lines and colors. It has formed the tension art style, is not only has the Chinese ancient society Taoist idol painting color and has the Gaochun area Taoist idol painting characteristic, simultaneously as the elegant common appreciation art style pattern spreads to now, is the precious cultural relic.
【学位授予单位】：上海大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J205

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