摘要
本文探讨了黄檗宗顶相中的行乐图形式。黄檗宗的此类顶相并非平地拔起,而是具有历史和宗教的内涵,禅师身处户外山水中的顶相,至少在宋元时代已经出现。黄檗宗独有的行乐图样式顶相,则更接近诸多中国明清时代的文人行乐图。此种样式除了单人像外,往往采用群像或三幅对的组合来表现;画中的器物与动植物既具有世俗肖像的特征,能与现存的实物对应;又具备内在的意涵,有时能在题赞中体现其阐释。
This article discusses the Obaku Chan Masters’Out-of-doors Portrait Form.This kind of Obaku Portrait Form is not just contemporary but has historical and religious connotations.The Portrait of Chan Master in the outdoor landscape appeared at least in the Song and Yuan dynasties.The Obaku sect's unique style is closer to many Chinese literati's out-of-door paintings during the Ming and Qing Dynasties.In addition to single-person portraits,this style is often expressed by group portraits or a combination of three pairs;the utensils,animals,and plants in the paintings not only have the characteristics of secular portraits but can correspond to existing objects.They also have internal meanings,sometimes can reflect its interpretation in the inscription.
出处
《艺术设计研究》
CSSCI
2023年第2期8-14,共7页
Art & Design Research
基金
2021年浙江省文化研究工程重点项目“中日禅宗绘画艺术图像交流与文明互鉴研究”(项目编号:21WH70082-7Z)
中央高校基本科研业务费项目华东师范大学引进人才启动费项目(项目编号:2020ECNU-HLYT042)的阶段性成果。
关键词
黄檗宗
顶相
行乐图
题赞
Obaku
Chan Masters’Portrait
Out-of-doors Portrait
Inscription
