宗教传播中的图像误读——以《程氏墨苑》中的圣像画为例

Misreading of Image in the Relig ion Spreading: A Case of Icon Paintings in Cheng's Models of Ink Stick

《程氏墨苑》中的四幅圣像画是明朝中后期天主教传入中国的一个例证。圣像画的赠予者利玛窦希望以此来传播宗教,受赠者程君房则希望以此来增加《程氏墨苑》的市场竞争力,而执笔者丁云鹏对这些圣像画做出艺术上的处理,最终形成书籍流通过程中的圣像画面貌。本文分别从礼物、宗教图像文本和版画制作艺术的角度分析这些圣像画,讨论艺术品在文化交流和传播过程中所起到的媒介作用,以及不同文化对于艺术品的本土改造和有意误读。通过《程氏墨苑》中这四幅宗教绘画的境遇,可见中国绘画于明末清初所面临的西方绘画技法冲击,以及中国艺术家对于这种冲击所做出的解读和回应,这也从另一个角度说明了宗教艺术在不同文化语境中所面临的困境和挑战。

Abstract： The four icon paintings in Cheng＇s Models of Ink Stick [程氏墨苑] prove that Catholicism was introduced in China in Late Ming Dynasty. Matteo Ricci gifted the icon paintings to Cheng Junfang to spread religion while Cheng expected to improve the market competitiveness of Cheng＇s Models of Ink Stick by them. Finally, Ding Yunpeng painted the icons in his artistic manner and then came the icon image in the book. The paper analyzes these icon paintings in the aspects of the gifts, religious images and woodcut art and explores the effects of artwork as the medium in cultural exchange and spread as well as the indigenization and the intentional misreading to artwork in different cultures. Through the four religious paintings, we could know the impact of Western painting techniques on Chinese painting in late Ming and early Qing and the responses of Chinese artists. It also illustrates the difficulties and challenges of religious art in different cultural contexts from another angle.