论文部分内容阅读
摩尼教普遍采用“以图解经”作为其宣教方式,其“明暗二元论”的教义本身蕴含强烈的视觉审美意识,这使得摩尼教对包括插图在内的经书装饰格外重视,从而使插图成为摩尼教内一种制度化、系统化、组织化、规模化的自觉方式,并在摩尼教徒中因袭传承。这种方式使插图具有了独立的艺术意义,成为审美意识的表达,而不仅仅是附属于文本。正是摩尼教插图艺术使得画家在人类艺术史上具有了前所未有的独立性,成为一种正式的艺术身份。摩尼教视“几何图形为扩展的量”这一教义所形成的审美意识,对后来的拜占庭艺术同样具有深远影响,使西方绘画艺术在总体特征上趋向于塑形。
The Manichaeism generally adopts “enlightenment” as its missionary mode, and its doctrine of “light and darkness” itself contains a strong sense of visual aesthetic. This makes Manichaeism pay special attention to the decoration of scriptures including illustrations, Thus, the illustration became a systematic, systematic, organized and scale-conscious way of Manichaeism and inherited from the Manichaeism. In this way, the illustration has an independent artistic meaning and becomes the expression of aesthetic consciousness, not just attached to the text. It is the Art of Manichaeism illustrations that make painter an unprecedented independence in the history of human art and become a formal artistic identity. The aesthetic awareness formed by Manichaeism as “the amount of geometry for the expansion” also has far-reaching influence on the later Byzantine art, which tends to shape the western painting art in its general characteristics.