论文部分内容阅读
本文从隋文帝效仿梁武帝“菩萨戒皇帝”故事出发,由重读碑铭结构、话语入手,讨论了文帝身世传说、佛舍利感应祥瑞、共时性的斋仪,三者如何共同形塑了彼时流行的宗教图像主题观照下的人间皇帝形象,并有效地纳入礼仪性观看视野。其中隐含了文帝对身后修行成道的自我期许;象征法身不灭的佛舍利与文帝邈真的共同建构的影堂则意味着:法身化遍,邈真遍观。这一叙事的共时性,将新朝代所表征的天下观与合法性,通过礼仪中的祀奉,实现了由中央向地方的传递。在舍利塔内兼具供养与被供养的文帝邈真图像,在神格叙事语境下,完成了一种特殊的空间语义的重塑与生成,即作为家庙的影堂。更重要的是,本案或许提供了某种可能,使历史学视野下的金石史料能够与艺术史视野下的图像遗存在“空间物质性”的基础上达成有效的对话。新出土中古金石史料不断涌现,艺术史学科边界备受挑战的当下,打通“读史”与“观像”区隔,实有别样意味。
This article starts from the story of Emperor Wen Emperor Wu ’s “Bodhisattva Emperors ”. From the re-reading of the structure of inscriptions and discourse, this article discusses the legend of Emperor Wen Di, The image of the popular emperors in that period was the subject of popular egyptian images of the emperors, and was effectively incorporated into the ceremonial sexual field of vision. Which implies the self-prompting of Emperor Wen on Taoism in his own way; the shadow hall that symbolizes the immortality of Buddha and the emperors Wenjian really mean: the body of the body, the truth of the universe. The synchronic nature of this narrative transforms the world outlook and legitimacy symbolized by the new dynasty through the ritual services in ceremonial etiquette to achieve the transfer from the central government to the localities. In the stupa, the real image of both Man and God, both dependent and dependent, completed a special kind of reshaping and generating of space semantics in the context of the supernatural narrative. More importantly, this case may provide some possibility that the historical materials under the historical view will be able to reach an effective dialogue based on the “spatial materiality” of the images preserved under the historical perspective of art. The new unearthed in the ancient stone materials continue to emerge, art history subject boundary challenges present, get through “read history ” and “image ” division, there are different kind of meaning.