宗教视域下的南宋风俗画释读——以传李嵩《骷髅幻戏图》为例

The Research of the Genre Paintings of Southern Song Dynasty at the Religious Level——To Take the Skeleton Puppets for an Example

南宋一朝是佛教、道教日趋世俗化、平民化并在民间真正产生广泛影响的时代,也是以民间风物、习俗为主要母题的风俗画创作的一个高峰期。由于佛教、道教共同扎根于民间,这时期的部分风俗画作品都反映了释道二教实现普遍社会化的事实。传为南宋画家李嵩所作《骷髅幻戏图》因其表现内容之奇诡而为研究者所关注,至今已产生了不少诠释该画作内涵的学术成果。试图从宗教学的层面切入,结合相关的传世文献来发掘、讨论该图像与道教生死观、佛教"白骨观"、"髑髅法"的关系,并借此说明南宋释道社会化的宗教生态在宋画中的呈现。

The Buddhism and Taoism carried wide - ranging implications for the masses when they were secularized in the Southern Song Dynasty.During the same period,the ancient Chinese genre painting reached its first peak.Part of these works expressed the socialization process of Bud-dhism and Taoism.Skeleton Puppets which is inferred that was created by Li Song from the Southern Song Dynasty,has been focused on by many scholars for its marvelous scene.This paper tries to re-veal the relevance between this painting and Taoist philosophy about life and death or the Buddhist vi-sualization about bones and spells of skeleton at the religious level,for explaining how the paintings of Southern Song Dynasty show the socialization process of Buddhism and Taoism.