本文選題：渡水　切入點：渡海觀音　出處：《美術觀察》2017年12期

【摘要】：正中國古代關于僧人形象的圖像表現(xiàn),東晉時便已出現(xiàn),張彥遠的《歷代名畫記》中記述東晉畫家史道碩曾繪《梵僧圖》,此后顧寶光、毛惠秀、張僧繇等均有描繪。而明確表現(xiàn)"渡水僧"的繪畫則出現(xiàn)在中唐時期,入宋后發(fā)生演變并在南宋時走向衰微。唐、宋時期的"渡水僧"圖像并非像傳統(tǒng)"渡海天王"或"渡海觀音"那樣具備較固定的圖式特征,而是有其清晰的發(fā)展過程和階段性表現(xiàn)。由于佛教經(jīng)籍中并沒有具體關
[Abstract]:In ancient China, the image of monks appeared in the Eastern Jin Dynasty. In Zhang Yanyuan's Records of famous paintings of the past dynasties, it is recorded that Shi Daoshuo, the painter of the Eastern Jin Dynasty, once painted "the Sanghan Pictures", and since then Gu Baoguang, Mao Huixiu and Zhang Sengyou have all been described.The paintings which clearly showed the "crossing water monk" appeared in the middle Tang Dynasty, evolved after entering the Song Dynasty and declined in the Southern Song Dynasty.The image of "crossing water monk" in Tang and Song dynasties is not as fixed as the traditional "crossing sea king" or "crossing sea Quan Yin", but has its clear development process and stage performance.Because there are no specific customs in the Buddhist scriptures.
【作者單位】： 東南大學藝術學院;
【基金】：中央高�；究蒲袠I(yè)務費基金人文社科重大引導項目“10至13世紀漢文化圈羅漢信仰與圖像”的階段性成果,課題編號2242017S10023
【分類號】：J212
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本文編號：1722126