本文選題：高淳 + 道教神像畫�。� 參考：《上海大學》2014年碩士論文

【摘要】：南京高淳地區(qū)是中國道教的一個主要發(fā)生與傳播區(qū)，上世紀八十年代成批量明清時期神像畫的發(fā)現(xiàn)為研究該地區(qū)道教信仰與崇拜提供了重要的實物樣本。雖然今天這批神像畫已經(jīng)不再被人們使用，但是它所表現(xiàn)的宗教性和藝術(shù)性的價值都是無法忽視的。以此為出發(fā)點本篇論文分為三章對這批高淳道教神像畫進行分析。 第一章包含兩個部分。第一部分介紹高淳的道教信仰習俗，作者經(jīng)過實地考察，著重于當?shù)氐澜袒顒託v史及現(xiàn)狀情況，概括描述當?shù)氐澜烫攸c和發(fā)展情況。第二部分探討高淳道教神像畫的保存現(xiàn)狀，對現(xiàn)有神像畫基本面貌及保存狀況做了統(tǒng)計與估量。第二章分為兩個部分，在第一部分里介紹道教神仙譜系的特點和發(fā)展，在第二部分中探討了高淳道教齋醮儀式中道教神仙譜系的特點，，分析該地區(qū)道教活動“大場面”中的神像排列譜系，及高淳地區(qū)神像組合往來成因，并對高淳地區(qū)道教神像譜系的地方性崇拜特點、升格等現(xiàn)象進行梳理分析。在第三章中分析高淳道教神像畫的藝術(shù)價值，對其藝術(shù)風格表現(xiàn)手法、工序、步驟、形象特點、元素符號的運用等進行直觀認識與考量。探討神像畫的內(nèi)涵并且揭示了其所具有的社會價值。 在結(jié)語中，依據(jù)前文所述，高淳道教神像畫被看成為受到當?shù)孛袼子绊懖⒔Y(jié)合道教儀軌和當?shù)孛耖g藝術(shù)技法創(chuàng)造而成的結(jié)果。研究表明這批道教神像畫不僅保存道教神仙譜系的共同點并且還具備高淳當?shù)仫L俗的特點，作為民間藝人所制作的宗教繪畫，世俗民間的世態(tài)人情通過線條與色彩的巧妙組合，形成了富有張力的藝術(shù)樣式，是既具中國古代社會道教神像畫色彩又具高淳地方地域道教神像畫特征，同時作為雅俗共賞的藝術(shù)風貌范式流傳至今，是寶貴的文化遺存。
[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.
【學位授予單位】：上海大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J205

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本文編號：2012019