【摘要】： 五岳作為獨(dú)有的歷史文化現(xiàn)象在中國(guó)古代社會(huì)一直扮演著重要角色。而作為其重要表現(xiàn)形式之一的道教五岳壁畫，也成為反映各個(gè)時(shí)期社會(huì)文化動(dòng)態(tài)的載體。本文選取道教壁畫五岳神祗圖像作為研究對(duì)象，通過(guò)對(duì)現(xiàn)存道教壁畫中五岳神祗位業(yè)的梳理、分析，初步建構(gòu)起各道教壁畫中的五岳神祗譜系，并通過(guò)對(duì)五岳神祗位業(yè)的探討，嘗試解讀支配壁畫建構(gòu)的思想體系和邏輯構(gòu)思，也即古代壁畫建構(gòu)的思想性問題。 論文共分為三章。第一章是對(duì)相關(guān)史料及現(xiàn)存五岳壁畫情況的梳理。該章重點(diǎn)探討了“五岳”名稱來(lái)源問題，確定了“五岳”一詞出現(xiàn)的大致時(shí)間，指出該詞的產(chǎn)生與原始宗教信仰及大一統(tǒng)的國(guó)家觀念密切相關(guān)，，并直接影響到后來(lái)五岳神祗圖像的形成。第二章重點(diǎn)探討了以永樂宮為代表的六處道教壁畫中的五岳神祗位業(yè)，針對(duì)各處壁畫及建筑所呈現(xiàn)出的特點(diǎn)，初步建構(gòu)起各具體道教殿堂五岳壁畫神祗譜系。在探討永樂宮三清殿壁畫八位主神身份時(shí)，本人充分關(guān)注到壁畫與古建及全真教之間的關(guān)系，對(duì)壁畫神祗布局作出新的詮釋。第三章是在第二章基礎(chǔ)上的進(jìn)一步闡發(fā)，該章通過(guò)對(duì)第二章各壁畫神祗位業(yè)的歸納、梳理，初步建構(gòu)起以道教朝元系統(tǒng)、國(guó)家岳廟祭祀系統(tǒng)以及民間岳廟祭祀系統(tǒng)為主體的五岳神祗圖像譜系，并結(jié)合各具體神祗所呈現(xiàn)出來(lái)的特點(diǎn)將其歸納到一個(gè)框架中進(jìn)行探討，從而建立起一個(gè)包括五岳山神、雩祭神、方位神、時(shí)序神、福佑神以及地府神祗在內(nèi)的總的道教壁畫五岳神祗譜系。該譜系的建立，是國(guó)家、宗教及民間三股力量共同作用的結(jié)果，反映了古人意圖謀求天地水三界以及四時(shí)、五方和諧共生的理想社會(huì)結(jié)構(gòu)模式。
[Abstract]:As a unique historical and cultural phenomenon, Wuyue has always played an important role in ancient Chinese society. As one of its important forms of expression, Taoist murals of Wuyue also became the carrier of social and cultural dynamics in various periods. This paper selects the images of the gods of the five mountains of Taoist murals as the research object, through combing and analyzing the status of the gods of the five mountains in the existing Taoist murals, it preliminarily constructs the pedigree of the gods of the five mountains among the Taoist murals, and through the discussion of the divinity of the five mountains, This paper attempts to interpret the ideological system and logical conception that govern the construction of murals, that is, the ideological issues of the construction of ancient murals. The thesis is divided into three chapters. The first chapter is the related historical data and the extant Wuyue murals combing. The chapter focuses on the origin of the name "Wuyue", determines the approximate time when the word "Wuyue" appeared, and points out that the origin of the word is closely related to the primitive religious beliefs and the concept of unification. And directly affected the formation of the image of the gods of the five Mountains. The second chapter mainly discusses the Wu Yue deity position industry in the six Taoist frescoes represented by Yongle Palace. According to the characteristics of various murals and buildings, the author preliminarily constructs the genealogies of the five mountains frescoes in the Taoist temples and halls. In the discussion of the eight main gods of the frescoes in the third Temple of Yongle Palace, I pay full attention to the relationship between the murals and the ancient architecture and Quanzhen religion, and make a new interpretation of the layout of the frescoes. The third chapter is a further analysis on the basis of the second chapter. By summing up and combing all the mural divinities of the second chapter, this chapter preliminarily constructs the Taoist system of the Dynasty and Yuan Dynasty. The national Yue Temple sacrifice system and the folk Yue Temple worship system are the main part of the image pedigree of the five Yue gods, and combined with the characteristics of the specific gods, they are summed up into a framework for discussion, and thus the establishment of a five mountain gods including the five mountains. Rain, azimuth, timing, blessing, and the Divine, including the total Taoist frescoes Wuyue deity pedigree. The establishment of the pedigree is the result of the joint action of the three forces of the state, religion and folk, which reflects the ideal social structure model of the ancient people's intention to seek the three boundaries of heaven, earth and water and the harmonious coexistence of the five parties at 04:00.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2007
【分類號(hào)】：B959;K879.41

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本文編號(hào)：2147654