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在道释画从佛菩萨像﹐逐渐转向罗汉和观音创作的过程中,出现了一个特殊的现象,这就是随着宋代佛教的不断推广,以及绘画与市井生活的日益紧密,道释画开始从象征降魔驱邪的神性威力,转为平民化的审美趣味,也就是由神明化向人性化转变,如罗汉的形象从类似于贯休的“黝然若夷獠异类,见者莫不骇瞩”(注3)的非世间相,转化为现实中熟悉的士人或高僧的形象,将理想的佛与现实的人融合一身。因此,宋代之后,佛陀或罗汉多被安排在常见的现实
During the process of the Taoist and Taoist deconstruction of Buddhism and Bodhisattva, the special phenomenon appeared in the process of the creation of Lohan and Guanyin. With the popularization of Buddhism in Song Dynasty and the increasingly close relationship between painting and marketplace life, A symbol of demons exorcism divine power, into the aesthetic taste of the civilian population, that is, from the deification to the humane change, such as the image of Lohan from similar to the rest of the "(Note 3) non-world phase, into the reality of the familiar figure of a gentleman or monk, the ideal Buddha and the reality of people together. Therefore, after the Song Dynasty, the Buddha or Lohan was placed in a common reality