摘要
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。
It was in the fifteenth and early sixteenth centuries that popular Buddhist stories prevailed in the central court of Ming dynasty.Such stories were known as Baojuan,or the precious scrolls.The illustrated Mulian baojuan(Precious scrolls of Maudgalyayana)and murals of the Beijing-based Great Wisdom Monastery,wherein the Princess Miaoshan,an incarnation of Bodhisattva Guanyin,was vividly depicted,were the two epitomes of such stories.Both were commissioned by concubines and eunuchs in the inner court.Inquiring into both,the present paper article tries to shed revealing light on the complex connections existing among religious beliefs,storytelling,and narrative painting.
出处
《史林》
CSSCI
北大核心
2017年第4期60-70,共11页
Historical Review
基金
何鸿毅(Robert H.N.Ho)家族基金有关妙善故事传播研究项目的阶段性成果
