【摘要】：水陸畫是舉辦水陸法會時(shí)用到的神yG鬼靈的圖像,它是元明清時(shí)期宗教美術(shù)的重要表現(xiàn)形式之一。本文研究的山西右玉寶寧寺舊藏水陸畫,繪制精美、保存完好,是眾多遺存水陸卷軸畫中的代表性作品。本文的研究重點(diǎn)為寶寧寺水陸畫內(nèi)容及繪制年代考釋。學(xué)術(shù)界普遍認(rèn)為此堂水陸畫是以"敕賜鎮(zhèn)邊"之名賞賜給寶寧寺的,但繪于何時(shí),由誰賞賜?目前存在些許爭論。本文緒論部分全面梳理了目前水陸畫領(lǐng)域的學(xué)術(shù)研究現(xiàn)狀,進(jìn)而提出所要解決的問題。之后緊扣寶寧寺水陸畫這一選題,首先對此堂水陸畫的由來、藝術(shù)特色進(jìn)行梳理、分析,確認(rèn)其遵循的修齋儀軌為《天地冥陽水陸儀文》。在此基礎(chǔ)上,以各組神yG為單位,結(jié)合儀文、典籍對畫中涉及的神yG鬼靈圖像進(jìn)行解讀。第三章著重考證寶寧寺水陸畫的繪制年代問題。通過對寶寧寺水陸畫中人物服飾、神yG譜系、表現(xiàn)技法的研究,以及與元明兩代卷軸畫、水陸卷軸畫及水陸壁畫的對比,認(rèn)為寶寧寺水陸畫采用元代粉本,繪制時(shí)間是在元末明初(元末紅巾軍出現(xiàn)以后),是元末明初具有代表性的水陸卷軸畫作品。本文考釋神yG鬼靈圖像,探究其源流、含義,從而對水陸畫內(nèi)容進(jìn)行了系統(tǒng)的整理分析。此外,創(chuàng)新之處還在于以圖像、史料為基礎(chǔ),利用圖像學(xué)、風(fēng)格學(xué),運(yùn)用對比等多種方法解決年代考證這一問題。并在這一過程中,兼論元明兩代水陸卷軸畫的粉本問題、風(fēng)格流變問題。
[Abstract]:The painting of land and water is the image of yG ghost, which is one of the important forms of religious art in Yuan, Ming and Qing dynasties. The waterfront paintings of Shanxi Youyu Baongning Temple, which are beautifully drawn and well preserved, are the representative works of many relic water- land scroll paintings. The research focus of this paper is the content of the painting of the Baongning Temple and the textual research of its drawing age. Academic circles generally believe that this hall of water and land painting was given to the Boning Temple in the name of "Chi Zhi Zhen Bian", but when was it painted, and by whom? There is some debate. The introduction part of this paper comprehensively combs the present academic research status in the field of land and water painting, and then puts forward the problems to be solved. Then close to Baongning Temple water and land painting this topic, first of all, the origin of the waterfront painting, the art characteristics of combing, analysis, confirmed that it followed the Zhai ritual for the "heaven and earth Ming Yang water and land instrument text". On this basis, taking each group of gods yG as the unit, combined with the Yi Wen, the ancient books to the picture of the god yG ghost image interpretation. The third chapter focuses on textual research on the drawing age of the painting of Baoning Temple. Based on the study of the dress of characters, the pedigree of God yG, the techniques of expression, and the comparison with the scroll painting of Yuan and Ming dynasties, the scroll painting of water and land and the murals of water and land, it is considered that the painting of water and land in Baoning Temple adopts the pink version of Yuan Dynasty. The drawing time was in the late Yuan Dynasty and the early Ming Dynasty (after the appearance of the Red napkin Army at the end of Yuan Dynasty), and it was a representative painting work of the land and water scrolls in the late Yuan Dynasty and the early Ming Dynasty. This paper studies the image of yG ghost, explores its origin and meaning, and makes a systematic arrangement and analysis of the contents of the waterfront painting. In addition, the innovation is based on image and historical data, and uses many methods, such as graphology, stylistics, contrast and so on, to solve the problem of chronology. In this process, the paper also discusses the painting of water and land scrolls in Yuan and Ming dynasties.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J219

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