Picturing the True Form pdf epub mobi txt 電子書下載2025

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萊斯大學藝術史副教授

1991年獲颱灣大學學士，1995年獲颱灣大學碩士，2002年獲耶魯大學博士。黃士珊目前的研究集中於十至十四世紀中國道教和佛教的視覺藝術。在萊斯任教前，她曾在華盛頓大學和哥倫比亞大學執教。她的論文《道教天地水三官及南宋中國（1127-1279）視覺文化的創造》曾獲得耶魯大學Blanshard奬項。著有Picturing the True Form: Daoist Visual Culture in Traditional China（2012），並曾在《故宮學術季刊》、《亞洲藝術》、《道教研究》等發錶文章。

出版者:Harvard University Asia Center

作者:Shih-shan Susan Huang

出品人:

頁數:526

译者:

出版時間:2012-8-27

價格:USD 69.95

裝幀:Hardcover

isbn號碼:9780674065734

叢書系列:The Harvard East Asian Monographs

圖書標籤:

藝術史
道教
道教美術
海外中國研究
宗教
黃士珊
道教藝術
英文

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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.

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While the world progresses from the Dao to multiplicity, the adept cultivates himself in reverse, returning from multiplicity to the Dao.

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While the world progresses from the Dao to multiplicity, the adept cultivates himself in reverse, returning from multiplicity to the Dao.

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While the world progresses from the Dao to multiplicity, the adept cultivates himself in reverse, returning from multiplicity to the Dao.

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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、空間性和黃籙大醮、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，確實開闢瞭一個視覺文化的新“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。

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再三榮幸能在萊斯短暫的時間裏認識Prof. Huang，當時上她的課Buddhism and Daoism Art用的就是這個課本，應該是西方藝術史學界時隔多年少有的道教研究，也應該是道教圖像藝術分析的引領。