像而有灵:关羽图像演变

Picture and Divinity:The Evolution of Guan Yu’s Iconography

三国至五代时期的关羽图像存而不详;宋金元为其多元的滥觞期;明清则是文武并存的人、神、帝繁荣景象。图像是神存身之所,世人认为关羽图像能自我完善保护,有御敌、治病、除恶、帮助科举功名、举子、避水火灾祸、驱邪等功能;以广像、重饰等行为,示其虔诚。关羽图像是造神运动和世俗化过程交互缠绕的结果,经历了由人而神而圣再回复到人的过程,是儒、释、道三教和民间信仰相互排斥、吸收和交融的产物;神之灵否与像之优劣及信徒虔诚度成正比;关羽图像分文人画和世俗画,二者共同构成关羽画像的丰富繁荣;其流变是各种艺术交互影响的过程和结果。

The imagery of Guan Yu from the Three Kingdoms to the Five Dynasties period was sparse yet existed.The dynasties of Song,Jin,and Yuan marked a period of diverse origins for depictions.The Ming and Qing dynasties witnessed a flourishing portrayal of Guan Yu as a man of letters and arms,revered as both a divine and imperial figure.An image serves as the abode of the divine,and it is widely believed that Guan Yu’s imagery possesses the ability to self-perfect and protect,offering functions such as warding off enemies,curing illnesses,eradicating maladies,aiding in scholarly achievements,blessing with progeny,preventing calamities,and expelling malevolent forces.Devotion is demonstrated through the creation of grand images and the act of re-adorning them,signifying piety.Guan Yu’s imagery is an intertwined outcome of the deification movement and the secularization process,undergoing a transformation from human to divine,to sage,and then back to human.It represents the interplay of exclusion,absorption,and integration among Confucianism,Buddhism,Taoism,and folk beliefs.There is a positive correlation between the perceived divinity,the quality of the imagery,and the devoutness of the followers.Guan Yu’s imagery is categorized into literati and secular paintings,both of which contribute to the rich tapestry of his iconography.The evolution of his portrayal is a testament to the cross-influence of various artistic expressions.