江南式白衣观音造型分析

An Analysis of Jiangnan-Styled Guanyin Image Dressed in White

五代时期,在中晚唐白衣观音造型的基础上,江南地区率先创造出一种冠搭披风且与外衣一体化、两手在腹前交叉并持数珠的新样观音,本文称之为江南式白衣观音。江南式白衣观音,两宋时期以雕塑为主体,在南方地区迅速发展演变,又促成了数珠手观音等新形式;元明清时期,这种白衣观音图像以绘画、线刻为主,且风行大江南北,进而与水月观音、送子观音、善财童子图像融合,被赋予新时代文化内涵。江南式白衣观音图像的发展,展现了佛教艺术大众化、民俗化的过程。

Following the image of the mid-late Tang Guanyin dressed in white, the new design of Guanyin image wearing a cloak, holding a string of beads with hands crossing in front of the belly was born in Jiangnan area during the Five Dynasties, which is named ‘Jiangnan-styled Guanyin Dressed in White' by the author in this paper. ‘Jiangnan-styled Guanyin Dressed in White' which was created mainly in the form of a statue in Song dynasties gained fast popularity over south China, then was developed into various images such as the figure holding a string of beads. When Yuan, Ming and Qing dynasties came, ‘Jiangnan-styled Guanyin Dressed in White' mainly in the painting and line-carving is all the fashion running north-south. It is merged with the elements from Water-Moon Guanyin, Children-Bestowing Guanyin and Sudhana to form a new cultural connotation of the new era. The iconographical changes of ‘Jiangnan-styled Guanyin Dressedin White' reflect the process of Buddhist culture was growing popularized and vulgarized in history.