Picturing the True Form investigates the long-neglected visual culture of Daoism, China's primary indigenous religion, from the tenth through thirteenth centuries with references to earlier and later times. In this richly illustrated book, Susan Huang provides a comprehensive mapping of Daoist images in various media, including Dunhuang manuscripts, funerary artifacts, painting...
Picturing the True Form investigates the long-neglected visual culture of Daoism, China's primary indigenous religion, from the tenth through thirteenth centuries with references to earlier and later times. In this richly illustrated book, Susan Huang provides a comprehensive mapping of Daoist images in various media, including Dunhuang manuscripts, funerary artifacts, paintings, and other charts, illustrations, and talismans preserved in the fifteenth-century Daoist Canon. True form (zhenxing), the key concept behind Daoist visuality, is not a static picture but entails an active journey of “seeing” underlying and secret phenomena through a series of metamorphoses.
The book's structure mirrors the two-part Daoist journey from inner to outer. Part I focuses on inner images associated with meditation and visualization practices for self-cultivation and longevity. Part II investigates the visual and material dimensions of Daoist ritual. Interwoven through these discussions is the idea that the inner and outer mirror each other and the boundary demarcating the two is fluent. Huang also reveals three central modes of Daoist symbolism—aniconic, immaterial, and ephemeral—and shows how Daoist image-making goes beyond the traditional dichotomy of text and image to incorporate writings in image design. These particular features distinguish Daoist visual culture from its Buddhist counterpart.
1991年获台湾大学学士,1995年获台湾大学硕士,2002年获耶鲁大学博士。黄士珊目前的研究集中于十至十四世纪中国道教和佛教的视觉艺术。在莱斯任教前,她曾在华盛顿大学和哥伦比亚大学执教。她的论文《道教天地水三官及南宋中国(1127-1279)视觉文化的创造》曾获得耶鲁大学Blanshard奖项。著有Picturing the True Form: Daoist Visual Culture in Traditional China(2012),并曾在《故宫学术季刊》、《亚洲艺术》、《道教研究》等发表文章。
目录
· · · · · ·
Machine generated contents note: Visual Dimensions --
Conceptual Framework --
Aniconic, Immaterial, and Ephemeral --
Facets of Daoism --
Primary Sources --
Daoist Tu in the Daozang --
· · · · · ·
(更多)
Machine generated contents note: Visual Dimensions --
Conceptual Framework --
Aniconic, Immaterial, and Ephemeral --
Facets of Daoism --
Primary Sources --
Daoist Tu in the Daozang --
Overview of the Book --
INNER CHAPTERS: ESOTERIC UNDERPINNINGS --
1.Imagery of Body and Cosmos --
Body Gods --
Early Divinities --
Planets and Bureaucrats --
Ritual Activation --
Visualizations of Stars --
Journeys to the Northern Dipper --
Imaginary Star Maps --
Stars in the Body --
Iconic Forms --
Souls and Worms --
The Seven Material Souls and Three Deathbringers --
Physical Parasites --
Control and Elimination --
Illustrating Internal Alchemy --
The Inner Realm --
The Medical Body --
Body Landscapes --
Interior Journeys --
2.Mapping the World --
Daoist Creation --
Sacred Charts --
Heavens and Upper Worlds --
Vertical Heavens --
Lateral Expansion --
Earthly Paradises --
The Ten Continents and Three Isles --
The Five Sacred Peaks --
Grotto Heavens --
Hells and the Underworld --
Mount Fengdu --
Women in Hell --
3.True Form Charts --
Metamorphoses of the Man-Bird Mountain --
Man-Bird Writings --
Birds in Heavenly Scripts --
The Five Sacred Peaks --
The Mystical Cosmos --
The Fengshui Connection --
Mountain Treasures --
Minerals and Herbs --
Magical Mushrooms --
4.Materiality of Daoist Sacred Space --
Forms of Daochang --
The Oratory --
The Public Altar --
Multiple Layers --
Multiple Stages --
Cultural and Religious Sources --
Soul Places --
Ritual Objects --
Flags and Banners --
Mirrors --
Writing Utensils --
Documents --
Spirit Money --
5.Performing the Salvation Ritual --
The Yellow Register Purgation --
Calling Out the Body Gods --
Ascent and Summons --
Attack on Hell --
Opening the Hells --
The Master's Staff --
Artistic Depictions --
Rescuing Souls --
Bathing and Feeding --
The Water Land Ritual --
Salvation through Refinement --
Internal Visualizations --
The External Rite --
Concluding Ceremonies --
6.Paintings of Mobile Deities --
Daoist Painters at Work --
Preparation --
Sketchbooks --
Teamwork --
Priests as Painters --
Three Officials of Heaven, Earth, and Water --
Pictorial Formulas --
Annual Festivals --
Pictorial Conventions --
The Heavenly Descent --
Daoist Deities in Procession --
Visualization Practice --
Earthly Excursions --
Tours of Inspection --
The Subjugation of Demons --
The Tree Goblin and the Ape Monster --
Ocean Crossings --
Crossing Over to Salvation --
Thunder Troops --
The Female Soul --
The Ritual Context --
Mobile Deities --
Yellow Register Painting.
· · · · · · (收起)
Webb Keane’s notion that “religions may not always demand beliefs, but they will always involve material forms“...David Morgan"histori-ans and scholars of religion will come to see images and visual prac- tices as primary evidence in the study of religion and not merely as incidental illustrations." (查看原文)
It is a promising point of departure to acknowledge the gray zone of Daoist and Buddhist iconographies and to study this ambiguity as a cultural phenomenon. (查看原文)
The Harvard East Asian Monographs(共280册),
这套丛书还有
《Give and Take》《The "Greatest Problem"》《Wretched Rebels》《The Worship of Confucius in Japan》《A Patterned Past》
等
。
0 有用 浣熊窗外见苍术 2022-09-05 10:51:25
摘抄: 《太上人鸟山真形图》 太上人鸟之山/峻而难逾/不天不地/不沉不浮/绝险绵邈/崔巍崎岖/神真是游/元气烟愠/玉液泓澄/灌溉靡伏/百二十官/天府相由/日月昏明/绛树特生/其实皆珠/白玉嵯峨/醴泉出隅/云出芝生/震灭邪驱/木鸟能语/此是神夫/还年之士/挹其芳流/子能得之/真人可俦/不知此道/万为土灰/口耳之经/名为天楼/ 太上人鸟之形/山之右流/玉女所登/窈窕巍巍/紫云飘飘/甘露霏霏/金池... 摘抄: 《太上人鸟山真形图》 太上人鸟之山/峻而难逾/不天不地/不沉不浮/绝险绵邈/崔巍崎岖/神真是游/元气烟愠/玉液泓澄/灌溉靡伏/百二十官/天府相由/日月昏明/绛树特生/其实皆珠/白玉嵯峨/醴泉出隅/云出芝生/震灭邪驱/木鸟能语/此是神夫/还年之士/挹其芳流/子能得之/真人可俦/不知此道/万为土灰/口耳之经/名为天楼/ 太上人鸟之形/山之右流/玉女所登/窈窕巍巍/紫云飘飘/甘露霏霏/金池玉房/在乎其隈/无枝之草/冬夏不衰/玄液反生/上下华蕤/愚兆兢往/至皆死归/惟有太上/能登不颓/漱挹流精/以致天飞/金光圆生/真气乘雷/夫子瞑目/长在八威/石生神兽元始/其音难追/一炁所成/土山不摧/书名天汉/口传无陂/是谓玄辉/仙也/ (展开)
6 有用 鵬鵬 James 2014-06-06 12:16:14
從“內”至“外”,各分三章,從“內篇"身體、宇宙觀到真形圖之視覺化(visualization),到“外篇"道儀物質性、空間性和黃箓大醮、天地水三官的相關圖像和儀式情境的復原,層級遞進,互有關聯。作者從頭至尾非常重視佛道兩者在唐宋之間的平行與交集,焦點不斷轉移但十分明晰。總體來說,確實開闢了一個視覺文化的新“洞天”。但由於英文寫作的局限,不少細節和題目需要後來者再深入探究。
1 有用 鲍勃粥 2020-01-31 10:32:56
再三荣幸能在莱斯短暂的时间里认识Prof. Huang,当时上她的课Buddhism and Daoism Art用的就是这个课本,应该是西方艺术史学界时隔多年少有的道教研究,也应该是道教图像艺术分析的引领。
2 有用 野韭菜和水獭 2015-11-29 14:12:19
先Mark一下反正看了个目录和前言我就跪下了屌的不行。|是厉害。
1 有用 行徒 2021-01-03 22:58:56
看notes就知道作者超强