墓室壁画与丝绸之路的宗教美术创新研究——兼论世界墓室壁画的比较意义
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摘要
目前,丝绸之路的宗教美术创新主要有新材料、新结构和新领域三条路径,其中新结构创新的成果最多,新领域创新的难度最大,也最为期待。在中国语境下,石窟艺术研究成果最多,墓室壁画研究则缺少系统性成果。通过墓室壁画的遗存梳理可以发现,中原文化的影响具有强大的辐射力,同时可以发现墓室壁画在佛教初传时期给予的支持比道教美术更加明确,孔望山摩崖造像是典型案例。在世界语境下,墓室壁画可以划分出中国及周边分布区、地中海沿岸分布区和中美洲分布区三个主要分布区,划分出彩绘墓室壁画、浅浮雕墓室壁画和线刻墓室壁画三个主要类型,以及划分出连续性生死转化和中断性生死转化两个信仰体系。由此,世界墓室壁画比较是一个创新明确的理论空间,在这一空间中,墓室壁画可以在世界艺术史上获得更高的地位,同时也可以为丝绸之路文明研究提供更加广阔的覆盖面。
Currently there are mainly three ways to study the innovations in religious art along the Silk Road,that is,new material,new structure and new field. Of them,it is the new field that is the most fruitful,the hardest and the most promising one as well. In Chinese context,there are many researches on grotto arts while it lacks a systematic study of tomb murals. With an investigation of the heritage of tomb murals,it finds that the Central Plains culture had exerted great influences on its neighboring areas and just as the Cliff Buddhist Sculptures of Kong-wang-shan demonstrated,tomb murals learned more from Buddhism than from Taoism in the initial transmission period of Buddhism. In the world context,tomb murals are mainly distributed in three areas,that is,China and its neighboring areas,Mediterranean Area and Central American Area with three types of painted ones,bas-reliefs and line-engravings. And it can be divided into two belief systems depending on whether the transformation between life and death is continuous or not. Therefore,the comparison between world tomb murals offers definite innovations for theoretic study in which tomb murals can enjoy a higher position in the history of world art and it can provide a larger scope to study the civilizations along the Silk Road.
Currently there are mainly three ways to study the innovations in religious art along the Silk Road,that is,new material,new structure and new field. Of them,it is the new field that is the most fruitful,the hardest and the most promising one as well. In Chinese context,there are many researches on grotto arts while it lacks a systematic study of tomb murals. With an investigation of the heritage of tomb murals,it finds that the Central Plains culture had exerted great influences on its neighboring areas and just as the Cliff Buddhist Sculptures of Kong-wang-shan demonstrated,tomb murals learned more from Buddhism than from Taoism in the initial transmission period of Buddhism. In the world context,tomb murals are mainly distributed in three areas,that is,China and its neighboring areas,Mediterranean Area and Central American Area with three types of painted ones,bas-reliefs and line-engravings. And it can be divided into two belief systems depending on whether the transformation between life and death is continuous or not. Therefore,the comparison between world tomb murals offers definite innovations for theoretic study in which tomb murals can enjoy a higher position in the history of world art and it can provide a larger scope to study the civilizations along the Silk Road.
引文
[1]邵学成.阿富汗文物珍宝展的叙述方式———以考古学艺术史进程为主要线索[J].美术,2018(01).
[2]孙行之.犍陀罗是丝绸之路的重要节点,佛教在那里经历了根本性的改造[N].第一财经日报,2018-05-25.
[3]汪小洋,包艳.南朝长江流域的宫观碑记与道教造像———南朝十三通宫观碑记的梳理与讨论[J].湖南大学学报:社会科学版,2015(06).
[4]汪小洋.中国墓室壁画研究·目录[M].上海:上海大学出版社,2010.
[5]汪小洋.中国墓室壁画史论[M].北京:科学出版社,2018:382-383.
(1)相关认识参见汪小洋《中国墓室壁画史论》的论述:从目前的考古成果看,道教图像不多。一方面,道教的生命长寿与重生的生命转化都是与长生信仰范畴,重生信仰的图像对道教图像有兼容的可能;另一方面,墓葬图像中,东汉中期以后就出现了仙化色彩降低的趋势,道教图像的缺少符合这一趋势。此外,当地政治生态的变化、特别是黄巾起义之后地方当局对道教徒的打击,也是道教图像不多的原因(汪小洋《中国墓室壁画史论》,科学出版社出版,2018年第125-136页)。还可参见汪小洋《孔望山摩崖造像的图像体系讨论》(载《民族艺术》2015年第1期)中的相关论述。
[2]孙行之.犍陀罗是丝绸之路的重要节点,佛教在那里经历了根本性的改造[N].第一财经日报,2018-05-25.
[3]汪小洋,包艳.南朝长江流域的宫观碑记与道教造像———南朝十三通宫观碑记的梳理与讨论[J].湖南大学学报:社会科学版,2015(06).
[4]汪小洋.中国墓室壁画研究·目录[M].上海:上海大学出版社,2010.
[5]汪小洋.中国墓室壁画史论[M].北京:科学出版社,2018:382-383.
(1)相关认识参见汪小洋《中国墓室壁画史论》的论述:从目前的考古成果看,道教图像不多。一方面,道教的生命长寿与重生的生命转化都是与长生信仰范畴,重生信仰的图像对道教图像有兼容的可能;另一方面,墓葬图像中,东汉中期以后就出现了仙化色彩降低的趋势,道教图像的缺少符合这一趋势。此外,当地政治生态的变化、特别是黄巾起义之后地方当局对道教徒的打击,也是道教图像不多的原因(汪小洋《中国墓室壁画史论》,科学出版社出版,2018年第125-136页)。还可参见汪小洋《孔望山摩崖造像的图像体系讨论》(载《民族艺术》2015年第1期)中的相关论述。