广允佛寺壁画的图像解读
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摘要
沧源县广允佛寺的壁画可以分为大殿内墙壁画、大殿顶部壁画和外围壁画三部分。大殿内墙壁画以柱子为界,共绘制有10幅,其主体内容是佛传故事。广允佛寺壁画中,《逾城出家》《降魔悟道》具有普遍性的图式、辨识度高的场景,可以较为轻易地识读出其宗教内涵,但其他壁画多被误读为宣扬政治和安抚边疆民众、反映民间传说和市井风情的故事画。绘画者并未根据故事情节的顺序展开,而是根据构图的整体需要来安插故事情节,其构图结构不允许观者按照惯常的观察习惯去识读画面。广允佛寺壁画创作者所构建的图像叙事,综合了他们个人认知体系和现实状况,通过对古典母题的重塑,反映出多民族共生、文化共融的社会现状,将故事主要人物按自己的意愿改头换面,使其呈现新的意义。
The murals of Guangyun Buddhist Temple in Cangyuan County can be divided into three parts:inner wall murals,top and peripheral ones.The inner wall murals,with the pillar as the boundary,is composed of 10 mural paintings,the main body of which is the story of the Buddha.In the murals of the Kuangyun Buddhist Temple,"Monastery beyond the City"and"Falling Evil and Savvy"have universal schemata and highly recognizable scenes,the religious connotations among which can easily understood,but other murals are often misinterpreted as advocating politics,appeasing the people in the border areas or stories reflecting folklore and the customs of the city.The painters do not develop according to the sequence of the story plot,but to the overall needs of the composition of the story plot,and its composition structure does not allow the viewer to read the picture according to the usual habit of observation.The image narration constructed by the creators of the murals of Guangyun Buddhist Temple synthesizes their personal cognitive system and realistic situation.Through the remolding of the classical motif,the murals reflect the social situation of multi-national symbiosis and cultural integration.The main characters of the story are changed to take on a new meaning according to the creators' own wishes.
The murals of Guangyun Buddhist Temple in Cangyuan County can be divided into three parts:inner wall murals,top and peripheral ones.The inner wall murals,with the pillar as the boundary,is composed of 10 mural paintings,the main body of which is the story of the Buddha.In the murals of the Kuangyun Buddhist Temple,"Monastery beyond the City"and"Falling Evil and Savvy"have universal schemata and highly recognizable scenes,the religious connotations among which can easily understood,but other murals are often misinterpreted as advocating politics,appeasing the people in the border areas or stories reflecting folklore and the customs of the city.The painters do not develop according to the sequence of the story plot,but to the overall needs of the composition of the story plot,and its composition structure does not allow the viewer to read the picture according to the usual habit of observation.The image narration constructed by the creators of the murals of Guangyun Buddhist Temple synthesizes their personal cognitive system and realistic situation.Through the remolding of the classical motif,the murals reflect the social situation of multi-national symbiosis and cultural integration.The main characters of the story are changed to take on a new meaning according to the creators' own wishes.
引文
(1)[美]巫鸿.礼仪中的美术---巫鸿中国古代美术史文编:下卷[M].上海:生活·读书·新知三联书店,2005:366.
(2)杨成忠.南传上座部佛教壁画[C]//王海涛,主编.云南历代壁画艺术.昆明:云南美术出版社,2002:271.
(2)杨成忠.南传上座部佛教壁画[C]//王海涛,主编.云南历代壁画艺术.昆明:云南美术出版社,2002:271.