【作者】 伊宝；

【导师】 王玉玺；

【作者基本信息】 山西大学 ， 美术学， 2007， 硕士

【摘要】 山西省稷山县青龙寺建于唐代龙朔二年(公元662年)，腰殿建于元至元二十六年(公元1289年)，其中壁画经过多次补绘，北壁一直到明永乐四年(公元1406年)方最后完成。由于是元、明两代历经百年完成的水陆寺观壁画，其时代恰逢两朝交接之际，在绘画形式和内容题材的表现中自然有它独特之处。探究其中，在图绘满壁，穷极“三教九流”大量神祇人物的表现中，将高超的元、明绘画艺术与多种中国传统文化形式予以融合并蓄。同时，在人神共存，帝王将相与诸子九流“亲切对话”的图式表达中，折射着浓浓的人文关怀和世俗温情。稷山青龙寺腰殿水陆壁画已不是简单的以宣扬宗教教义为基础的绘画形式了。唐、宋以来，由于士大夫阶层的喜好，佛教逐渐在其中盛行了起来，同时本土道教的复兴与程朱理学的并举促使了释、道、儒三教加速融合，至元、明之际，已成气候。青龙寺腰殿水陆壁画正是迎合了这种“时尚”应运而生。但与一般水陆壁画不同的是，它以宗教的题材为承托，以赋予“人文情怀”的笔调将世间百态、风俗民情、教义精神微妙而生动的得以展现。是我们了解古代社会制度、宗教习俗、意识形态和文化趋向最为有力的佐证。本文的研究共为五部分进行，第一部分的综述重点阐述了研究工作的目的意义、国内外研究动态、本论文解决的艺术与文化问题、研究內容和研究方法等。第二部分对其稷山青龙寺的历史沿革与遗存现状进行了考证。第三部分将山西省寺观壁画的发展对稷山县青龙寺腰殿水陆壁画的影响及其宗教意义进行了拓展对比。第四部分深入细致的分析了稷山青龙寺腰殿壁画的绘画特征与其相关的宗教文化内涵。第五部分对稷山青龙寺腰殿壁画的民俗风格及服饰特点进行了分解举证。本文的研究方法集中了多种文化学科的优势(艺术学、宗教学、人类文化学、历史学、服饰学等)，以交揉并蓄的手法，间接的反映了青龙寺腰殿水陆壁画所蕴涵的艺术价值和文化特征。其中，以收集相关文献资料为蓝本，配合影像资料、图本画册、田野考察，以多方位，多角度的视线进行研究。通过对其的研究，既能将稷山县青龙寺腰殿壁画艺术特征和绘画形式得以全面展示，同时，将古代的社会风俗、宗教习俗和民族精神予以透析。在流光溢彩的画面中追求其朴实无华的人文情节，在神众遍布的世界中找寻世俗的百态话题。宗教的神秘性已荡然无存，取而代之的是人类世界在追寻文明的时候所遗留的时代烙印。据此，将中国的宗教文化与宗教祭祀活动同古代社会的民间信仰与道德教化进行了论述，并诠释了壁画图式功能背后所承载的文化印记与历史痕迹。更多还原

【Abstract】 The Qinglong Temple of Jishan, Shanxi Province was built in the second.year of Longshuo of Tang Dynasty, (662A. D.) the Yao Palace in which was built up in the twenty-sixth year of Yuan zhi Yuan of Tang Dynasty. (1289A. D.) The wall paintings in the Yao Palace had been polished and improved for many times and those on the northern wall were not completed until the forth year of Yongle in Ming Dynasty (1406A. D.). Because until then the Shuilu temple wall paintings had. experienced 100 years of history of Yuan and Ming Dynasties and they were formed at the transition of the two dynasties, they are endowed with unique characteristics in form and content. In a word, the highlight of the paintings is that The Gods in the wall paintings are from the different religious schools, people can feel the advanced painting skills and different traditional cultural forms are integrated and fused. Meanwhile, the paintings, in which the human being and the gods co-exist and the kings and their followers communicate kindly with the scholar of different schools, reflect the humanist spirit and warm feelings among people. On this meaning, the wall paintings of this temple are not merely those which advocate a kind of religious belief. Ever since Tang and Song Dynasties, due to the support of a special class of scholars of Tang and Song Dynasties, Buddhism prevailed and the renaissance of Taoism started and the philosophical ideas of Cheng and Zhu promoted the fusion of the three different religious schools: Buddhism, Taoism and Confucian school, which was prevailing in Yuan and Ming Dynasties. The wall paintings in Qinglong Temple rose with the influence of this vogue of the time. But they are different from the common Shuilu wall paintings in that their subjects are religious events and they vividly depict and illustrate the different things of human world, customs and religious pursuit with the painters’ humanism spirit, which provide us a key to understand the social system, religious customs and cultural trend of those ancient dynasties.The paper consists of five parts. The first part includes the objective and the significance of this study, the study about it. up till now of home and abroad and the artistic, cultural issue, the research scope and the methodology of this paper. In the second part the author discusses the history and heritage of the Qinglong Temple. The third part attempts to make a comparative study between the development of temple paintings of Shanxi Province and those in Qinglong Temple in view of the former’s influence and the latter’s religious significance. In the forth part the author analyzes deeply and systematically the characteristics of these paintings and their religious connotation. In part five the author supplies some examples to prove his ideas on folk style and the costume features of these paintings.The methodology of this paper is reflected by an integrity of the advantages of many subjects (art, religion, human culture, and history and costume study) which reflects the artistic values and cultural characteristics. With the literary materials, photography materials, painting albums and to-the-spot research, the author tries to research the wall paintings from different perspectives.Through the above study, the artistic characteristics and the paintings forms of the paintings in Qinglong Temple are fully illustrated and the customs, religious tradition and spirit of ancient dynasties are explored. The painters in the past were pursuing the pure human feeling in the colorful world and seeking the common topics of people’s everyday lives in a world where many gods live together happily. The mystery of religion isn’t found here and it is replaced by the trace of people’s pursuit for civilization. So the author makes a systematic and thorough discussion of the Chinese religious culture and religious worshiping activities and their relations with people’ beliefs and moral education in ancient society to explore and explain the cultural connotation and historic meaning reflected by the painting language of the wall paintings.更多还原