| 从磨合罗的浮沉论民俗艺术的包容 |
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| 引用本文： | 刘道广.从磨合罗的浮沉论民俗艺术的包容[J].东南大学学报(哲学社会科学版),2011,13(4):87-91,128. |
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| 作者姓名： | 刘道广 |
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| 作者单位： | 东南大学艺术学院,江苏南京,210096 |
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| 摘 要： | "磨睺罗"(mahoraga)是佛教的"乐神",和比丘罗睺罗的名字在翻译时虽有两字相同,但不能据此把双方等同。前者是中国宋代民俗艺术的作品题材,元代被禁用后,其名就不再出现在民俗艺术中。但题材的"求子"意义在民俗艺术中一直存在,其形象则有所整合,更广泛出现在民间工艺中,反映了中国民俗艺术的包容性。
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| 关 键 词： | 磨合乐 观音送子 民俗艺术 |
On the inclusiveness of folk arts:the ups and downs of mahoraga |
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| LIU Dao-guang.On the inclusiveness of folk arts:the ups and downs of mahoraga[J].Journal of Southeast University(Philosophy and Social Science ),2011,13(4):87-91,128. |
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| Authors: | LIU Dao-guang |
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| Institution: | LIU Dao-guang |
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| Abstract: | Mahorage is the God of Music in Buddhism and the name of Biqiuluokouluo.Though their translated Chinese share two characters,they cannot be taken equally.Mahoraga was the theme of folk artistic works in the Song Dynasty.Though it seemingly vanished from the folk arts and crafts due to the ban on it in the Yuan Dynasty,it continued to exist in a different shape since its connotation of fertility was well-received.Its wide application to folk arts and crafts proves the inclusiveness of the Chinese folk arts. |
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