摘要
宗教艺术是基于具象的艺术手段将复杂的宗教理论展演开来,以便不同认知层次的受众得以领会其中的意义。对伊斯兰教宗教艺术的象征人类学解读,有助于研究者分析伊斯兰教在长期的历史过程中实践跨宗教对话和地方化的逻辑。甘肃省临夏地区的宗教文化氛围使当地穆斯林宗教精英尝试开展"回道对话",成为伊斯兰教在中国本土化实践的第二部分有机构成。本文通过分析拱北中出现的"壶"形象,抽象出在"回道对话"过程中的两个具体手段,即符号借用和象征重构。
Religious art is based on figurative artistic methods to show complex religious theory in ways that allow people of differing levels of specific knowledge to grasp its meaning.The interpretation of the Islamic religious art using symbolic anthropology help researchers analyze the logic behind the inter-religious dialogue and localization of Islam that took place over its long history.The special religious and cultural atmosphere in the Linxia area of Gansu province led local Muslim religious elites to attempt carrying out"Islamic-Daoist dialogue"and became the second organic structure of the localization of Islam in China.Through an analysis of the image of the"Pot"that appear in brick carving on Gongbei(Qubba),the present article abstracts from this two concrete measures used in the process of"Islamic-Daoist dialogue"namely the borrowing of symbols and symbol reconstruction.
作者
马文奎
Ma Wenkui(Center for Studies of Ethnic Minorities in Northwest China,Lanzhou University,Gansu Lanzhou,730020)
出处
《黄河文明与可持续发展》
2019年第1期107-114,共8页
Yellow River Civilization and Sustainable Development
关键词
伊斯兰教地方化
道教
砖雕
Localization of Islam
Taoism
Brick Carving
作者简介
马文奎(1988-),甘肃临夏市人,兰州大学西北少数民族研究中心2015级博士研究生。Email:mawkl988@163.com(兰州730020)
