摩尼教经书插图的发展与世俗化转型
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摘要
摩尼教在东方的传播以中亚、新疆地区为最盛。中亚是伊朗雅利安人神话传说的汇聚地,中亚粟特人在佛教故事壁画影响下,具有以壁画来表现雅利安人神话传说故事的传统。这种传统与摩尼教经书插图艺术相结合,使插图从宗教典籍转向文学历史故事和表现世俗生活的享乐,增加了插图的文学性和趣味性。回鹘人一度以摩尼教为国教,使摩尼教插图艺术得到高度发展。同时,回鹘人以国库之力扶持摩尼教书籍插图艺术,也使之成为服务于宫廷的艺术。细密画书籍插图艺术在中亚和西域的发展两相结合,使插图艺术完成了从宗教艺术到世俗宫廷艺术的转型。伊斯兰时期的波斯细密画插图艺术即是一种以世俗文学作品插图为主的宫廷艺术。在中亚、西域发生的转型无疑对波斯细密画的兴起、发展和繁荣奠定了坚实的基础。
The transmission of Manicheism to the east exerted great influence on Central Asia and Xinjiang area. Central Asia,as a centre of Iranian-Aryan mythology,has a large number of murals depicting Aryan myths——a tradition came from Buddhist paintings. As the tradition encountered with Manichean illustrations,the primarily religious content shifted to legends and historical stories reflecting temporal life pleasure,becoming more literary and amusing. The Uyghurs used to worship Manicheism as the official religion,while Manichean illustration reached its zenith. As they funded Manichean illustrations with the treasury,the illustration began to serve the royal court. In addition,the miniature painting flourished in Central Asia and the western region of China,leading the shift of illustration art from religious art to secularised art for royal palace. The shift probably laid the foundation for the later prosperity of Persian miniature.
The transmission of Manicheism to the east exerted great influence on Central Asia and Xinjiang area. Central Asia,as a centre of Iranian-Aryan mythology,has a large number of murals depicting Aryan myths——a tradition came from Buddhist paintings. As the tradition encountered with Manichean illustrations,the primarily religious content shifted to legends and historical stories reflecting temporal life pleasure,becoming more literary and amusing. The Uyghurs used to worship Manicheism as the official religion,while Manichean illustration reached its zenith. As they funded Manichean illustrations with the treasury,the illustration began to serve the royal court. In addition,the miniature painting flourished in Central Asia and the western region of China,leading the shift of illustration art from religious art to secularised art for royal palace. The shift probably laid the foundation for the later prosperity of Persian miniature.
引文
(1)王媛媛:《从波斯到中国:摩尼教在中亚和中国的传播》,中华书局,2012年,第23～24页。
(2)[德]克林凯特著;林悟殊译:《古代摩尼教艺术》,中山大学出版社,1989年,第19页。
(3)Mas‘ūdī,Murūj al-Zahab,Tehran,Intishārāt-i-‘Ilmī -v- Farhangī,1390,Jild 1,p.260.
(4)Firdowsī,Shāhnāmah,Tehran,Intishārāt-i-Amīr Kabīr,1369,p.391.
(5)[法]莫尼克·玛雅尔著;耿昇译:《古代高昌王国物质文明史》,中华书局,1995年,第194页。
(6)Abū al-Ma‘ālī,Bayān-al-Adyān,Tehran,Intishārāt-i-Mahmūd 1376,p.42.
(7)Rūyīn Pākbāz,Naqāshī-yi-Iran,Intishārāt-i-Zarīn-v-Sīmīn,1388,Tehran ,p.51.(鲁因·帕克巴兹:《伊朗绘画》,德黑兰:扎林与西敏出版社,2009年,第51页。)
(8)Rūyīn Pākbāz,Naqāshī-yi-Iran,p.48.(鲁因·帕克巴兹:《伊朗绘画》,第48页。)
(9)[德]克林凯特著;林悟殊译:《古代摩尼教艺术》,第51页。
(10)[德]克林凯特著;林悟殊译:《古代摩尼教艺术》,第97页。
(11)Hans-Joachim Klimkeit,Manichaean Art and Calligraphy,Leihen,E.J.Brill,1982,p.18.
(12)马小鹤,张忠达:《光明使者——图说摩尼教》,上海社会科学院出版社,2003年,第43页。
(13)王媛媛:《从波斯到中国:摩尼教在中亚和中国的传播》,第226页说:“无疑,这种华丽铺张风格的背后,显示的是高昌教会的豪富奢侈和日渐世俗的趋势。”
(14)[法]莫尼克·玛雅尔著;耿昇译:《古代高昌王国物质文明史》,第65页。
(15)王媛媛:《从波斯到中国:摩尼教在中亚和中国的传播》,第235页。
(2)[德]克林凯特著;林悟殊译:《古代摩尼教艺术》,中山大学出版社,1989年,第19页。
(3)Mas‘ūdī,Murūj al-Zahab,Tehran,Intishārāt-i-‘Ilmī -v- Farhangī,1390,Jild 1,p.260.
(4)Firdowsī,Shāhnāmah,Tehran,Intishārāt-i-Amīr Kabīr,1369,p.391.
(5)[法]莫尼克·玛雅尔著;耿昇译:《古代高昌王国物质文明史》,中华书局,1995年,第194页。
(6)Abū al-Ma‘ālī,Bayān-al-Adyān,Tehran,Intishārāt-i-Mahmūd 1376,p.42.
(7)Rūyīn Pākbāz,Naqāshī-yi-Iran,Intishārāt-i-Zarīn-v-Sīmīn,1388,Tehran ,p.51.(鲁因·帕克巴兹:《伊朗绘画》,德黑兰:扎林与西敏出版社,2009年,第51页。)
(8)Rūyīn Pākbāz,Naqāshī-yi-Iran,p.48.(鲁因·帕克巴兹:《伊朗绘画》,第48页。)
(9)[德]克林凯特著;林悟殊译:《古代摩尼教艺术》,第51页。
(10)[德]克林凯特著;林悟殊译:《古代摩尼教艺术》,第97页。
(11)Hans-Joachim Klimkeit,Manichaean Art and Calligraphy,Leihen,E.J.Brill,1982,p.18.
(12)马小鹤,张忠达:《光明使者——图说摩尼教》,上海社会科学院出版社,2003年,第43页。
(13)王媛媛:《从波斯到中国:摩尼教在中亚和中国的传播》,第226页说:“无疑,这种华丽铺张风格的背后,显示的是高昌教会的豪富奢侈和日渐世俗的趋势。”
(14)[法]莫尼克·玛雅尔著;耿昇译:《古代高昌王国物质文明史》,第65页。
(15)王媛媛:《从波斯到中国:摩尼教在中亚和中国的传播》,第235页。