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15—16世纪,描绘民间流行佛教故事的图像在明代宫廷内部流传,插画本《目连宝卷》抄本与描绘妙善公主故事的大慧寺壁画堪称是这类佛教故事的两则代表性例证,分别由正统年间的皇妃和正德年间的宦官定制。这两件物品是宗教信仰、视觉图像、书写文本与口头表演相互交织的产物,但它们的实际功用是十分复杂的。配有较多插图的《目连宝卷》抄本,不仅是口头演唱的脚本,亦对教化和娱乐性质的阅读有所辅益。大慧寺的壁画则是祈愿性质的绘画作品,其创作底本乃是《香山宝卷》,同样是宝卷宣唱的表演脚本,可是大慧寺壁画很可能并不用于佛教教化,而是为了实现对太监及其家人的超度。
From the 15th to the 16th and 16th centuries, images depicting folk-custom Buddhist stories circulated within the imperial court in the Ming Dynasty. Illustrated illustrations of the Buddhist scriptures of Murals and Maui’s Mural paintings are two representative examples of such Buddhist stories , Respectively, by the orthodox years of imperial emperors and eunuch eunuch custom. These two artifacts are the product of the intermingling of religious beliefs, visual images, written texts and oral performances, but their practical utility is quite complex. Mutiple illustrations with more illustrations are not only verbally written scripts, but are also instrumental in enlightening and entertaining reading. The frescoes of the Dayei Temple are prayers of nature. The origin of the frescoes is the “Xiangshan Baojuan”, which is also a performance script of the Baolangxuanzhang, but the Dahui Temple frescoes probably will not be used for Buddhist enlightenment, but rather for the realization Exceeded the eunuch and his family.