摘要
10—14世纪的泉州多元文化荟萃,来自国内不同民族地区的习俗、海外不同国家的宗教以及本土传统文化汇集在一个并不太大的空间里,各种异质文化有着不同程度的接触,共存模式独具特色。多元文化共处的状况会自然而然地表现在许多方面,留存下来的除了少量的文献记载外,艺术作品或许是最重要和直接的表达。泉州元代印度教石刻正是其时难得的异文化雕刻作品,其中,图像组成最为复杂的是五方龛状石刻,其上含有多种艺术元素,这些元素代表了不同的文化背景,既有独立存在的,也有借用的,还有重新组合创作的。制作者创作出来的图像,不仅代表了其个人的心理状态,更在一定程度上折射出其时的社会共识。这种独特的社会文化生态的形成,除了10—14世纪泉州特殊的政治与经济原因外,“泉州人”“泉州文化”特有的发展轨迹或许是值得关注的动因。
From the 10th to the 14th century,multiculture flourished in Quanzhou.Customs from various ethnic regions in China,religions from different countries of the world,and local traditional cultures were brought together in a not-so-large space,and had various degrees of contact with each other,presenting a unique pattern of coexistence.Such a multicultural coexistence naturally manifests itself in many ways;in addition to a few documentary records,the surviving works of art are perhaps the most important and direct expression of this coexistence.The Hindu stone carvings of the Yuan Dynasty in Quanzhou are rare works of art from a different culture in that period.Among them,the most complex ones are five stone carved niches,which contain a variety of artistic elements and represent different cultural backgrounds.Some of them reveal independent kinds of art;some reflect borrowing from elsewhere,and others are creations recombining elements of different cultures.The images produced by the carvers not only reflect the mentality of the individual,but also the social consensus to some extent.The unusual history of the development of“Quanzhou people”and“Quanzhou culture”may be the cause of the formation of this unique socio-cultural ecosystem,besides the special political and economic factors in the 10th and 14th centuries Quanzhou.
作者
吴燕玲
王丽明
Wu Yanling;Wang Liming
出处
《国际汉学》
CSSCI
2024年第4期93-99,158,共8页
International Sinology
关键词
泉州
印度教龛状石刻
多元文化
共存模式
图像表达
Quanzhou
Hindu stone carved niches
multiculture
mode of coexistence
image expression
