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牧溪的《观音·猿·鹤图》组画虽然久为人们关注,但就目前的研究成果来看,学界对其图像文化源流的讨论仍可以深入。本文在动物文化方面探讨了唐宋时期佛寺和僧人饲猿的传统、猿鹤配对的缘由以及猿鹤的蜀地特色。从宗教学角度出发探讨了宋代临济宗“无声诗”传统在禅画创作和画题选择上的重要作用,以及牧溪临济宗师承对其造成的影响。另外,观音像也与一般理解中的“水月观音”并不相同,从文献和图像考证应更接近五代自宋代流行的“自在观音”。综合各方面证据,《观音》与《猿·鹤》组画的创作与一般所认为的文人情趣、三教合一等原因无涉,可以认为是临济禅宗语境内的产物。
Although the group of “Guanyin Ape · Hehe Tu” paintings in Mu Xi has long been of concern to people, its discussion on the origins of its image culture can still be further explored from the current research results. This article explores the traditions of feeding monks and monks in the Tang and Song Dynasties, the reasons for the pairing of ape and cranes, From the religious point of view, this paper explores the important role of the Song Dynasty “s Rinzai ” Silent Poetry “in the selection of Zen paintings and paintings, and the influence that Linxi Gushi of the Song Dynasty undertook. In addition, Guanyin is also different from ”Guanyin“ in the general understanding. It should be more similar to ”Guanyin Guanyin“ popularly known in the Song dynasty from the literature and images. According to the evidence of all aspects, there are no reasons for the combination of ”Guanyin“ and ”Ape · Crane" paintings with the generally accepted scholarly taste and unity of the three religions, which can be regarded as the product of the Linjudan language.