摘要
大理巍宝山长春洞保存着清代初期西南道教建筑壁画的样貌,既有传统道教壁画题材,又有区域民族视觉形象,是研究西南道教、民族、艺术及文化交融的重要遗产。本文通过两年的田野调查发现,长春洞壁画将动态造型的神仙形象、经典叙事的民俗故事、具有装饰性与寓意的山水花鸟和体现文化认同的彝族生活内容,作为建构“洞天福地”的重要图像要素。其壁画风格成因有三:人与自然关系的表达;多民族交融的产物;巍山左氏土官的重视。长春洞壁画为研究西南民族的艺术创造和道教文化的传播与发展,提供了不可多得的历史图像和研究素材,既直观证明了清代西南民族文化的多样性与交融性,又是今日中华民族“多元一体”可视性的历史材料和艺术证据。
Changchun Cave of Weibao Mountain in Dali preserves the original look of murals in southwest Taoist buildings in the early Qing dynasty,which include both themes of traditional Taoist murals and regional ethnic visual images,so are an important heritage for the study of southwest Taoism,ethnic groups,art,and cultural fusion.Through two years of field research,this paper found that murals in Changchun Cave take the dynamic figures of deities and immortals,the classic narration of folk tales,decorative and symbolic flowers and birds in traditional Chinese paintings,and the life of the Yi ethnic group embodying their cultural identity as important pictorial elements for the construction of the“Cave of Heavenly Blessings”.The style of the murals was shaped by:the expression of the rela-tionship between mankind and nature;the product of the fusion of multiple ethnic groups;and the emphasis by local officials from the Zuos’of Weishan.Murals in Changchun Cave of Weibao Mountain provide rare historical images and research materials for the study of national artistic creation in southwest China and the dissemination and development of Taoist culture.They are not only visualized proofs of diversified and integrated ethnic cultures in the southwest in the Qing dy-nasty but also visual historical materials and artistic evidence for the“unity in diversity”of the Chinese nation today.
出处
《艺术设计研究》
CSSCI
2023年第5期29-36,共8页
Art & Design Research
基金
云南省哲学社会科学艺术科学规划项目“文化共同体视域下云南巍宝山多民族壁画研究”(项目编号:A2022YM10)的阶段性成果。
关键词
壁画
长春洞
巍宝山
彝族
图像
mural
Changchun Cave
Weibao Mountain
Yi ethnic group
image
