中国宗教艺术-中国天主教艺术（英）

“中国宗教艺术”系列图文并茂，以大量精美图片，反映中国五大宗教艺术的起源、风格特征、艺术价值以及对世界文明的影响等诸多方面内容，向中外读者介绍中国宗教各方面的知识，使其更直观地了解中国宗教文化。

PrefacePrologueThe First Chapter: The Historical Dust Blown Over (Tang Dynasty)I. Past Events Covered with Dust in the MonumentII. Relics Falling Apart AnywhereThe Second Chapter: The Falling Star Streaks the Night Sky (Yuan Dynasty)I. The Song under the Feet of Imperial CityII. Latin Styled Carved StoneThe Third Chapter: Searching for the Remained Imprint (Ming and Qing Dynasty)I. The Great Efforts Jesuits Put on EnculturationII. Reappearance and Fusion of Architecture Styles of Various Countries in ChinaThe Fourth Chapter: Waiting for the Chance to Turn Over (the Republic of China)I. Cardinal Celso Costantini’s Localized ReformII. The Cradleland of Church Arts in ShanghaiThe Fifth Chapter: Open Up a New Era of Transformation (Modern Times)I. The Second Vatican Council and the Church ArtII. The Variety of Church Architectural StyleIII. Catholic Music in the Traditional Cultural StyleIV. The Painting of Holy Pictures Expressed by Drawing Art of Chinese TraditionV. The Richness and Development of Church Fine DecorationsThe Final Chapter: Continuing the Unfinished Mission

PrefaceThe Son of God incarnated in the midst of Jewish people and shared all the elements of the Jewish culture. This reality provides the source of motive as a perfect exemplar for enculturation of the Church. Therefore, the Catholic Church has been concerning the issue of the relationship between the Church and various cultures since its beginning as Jesus Christ who completely and totally incarnates into each and every culture and hopes to bring the gospel of salvation to all in the ways people of every culture are able to receive. Each and everyone should be shined by the inspiration of God. The Asian Bishop’s Conference in 1974 emphasized this issue as well. It stated that the local church should be born in the midst of the local people. It should be locally characterized. It should constantly, humbly and friendly have dialogues and communications with local people’s tradition, culture and religion.The art and cultural development go hand in hand. On the one hand, the art is the earliest companion of human’s civilization, and it has an important role in the culture and it is an element of the culture. The art is an external expressive model of the culture. On the other hand, the culture is the source and content of the art. Different cultures develop different arts and different arts are like cultures pleasing to God. The art becomes an effective carrier of the crystallization which concretes human’s emotions, and it leads human race to pursue beauty and ultimately pursue toward God.Therefore, by researching and studying art we find a method of seeking the omnipotence of God which is pleasing to the Lord. The encountering of Christian faith and Chinese cultural art has ever spurted the dazzling light, and it has ever gone to its low ebb as well in the vast Chinese land. The Chinese nation has gone through trials and hardships for as long as one hundred years from the Opium War to the establishment of the People’s Republic. In fact, enculturation which the universal Church always asserts has been challenged and tested. Missionaries from different countries tried to be against the authority of the Holy See for their own purposes and benefits in China, and they wrongly imposed European church style into the China church. This deeply hurts the dignity of the Chinese people.Through out the Chinese history, many talented people of Chinese church tried to put their best efforts in the fulfillment of faith’s enculturation. In 1922, Gang Hengyi was assigned to be the first representative of the Holy See in China. Since then, he started his reform of enculturation, and this reform joined together with church’s art from its beginning. However, the reform at this time was just lasted for a short moment. After the establishment of the People’s Republic, the China church stands beside its nation and people, and chooses the way of self-determination for its development. At this time, Chinese church’s cultural art for various historical reasons has been stagnated, and such a stagnated situation has lasted for a longer time. Until the reform and open policy was adopted, Christian faith and the Chinese cultural art could be able to have a wider space for its own development. The rich Chinese historical culture has become the strong supporter for the union and constant development of Christian faith and the Chinese traditional and cultural art so that the Chinese traditional and cultural art has gained a great achievement and it’s breaking through in the field of art.We have achieved a great deal and the breaking through in the field of art, but we still have a long way to go in terms of researching and studying in the field of art. Hence, The Art of Catholic Church in China is born. It is in a more detailed way to summarize the entire situation of the development of art in the Chinachurch especially the situation of the development of art in Beijing diocese since the adoption of the reform and open policy in 1978. It is also to have an overall view about the entire situation in the field of art in the Chinese Catholic Church since Tang Dynasty (618-907). By reading this book, one can explicitly find every bright point in each period of time.In the beginning of the second decade of the new millennium, Beijing diocese starts “The Year of the Faithful Evangelization”. Mr. Liu Ping, a lay person was commissioned to write and edit this book. When Mr. Liu received this commission, he could realize that there was very few materials for him to consult in this field of art. As a result, Mr. Liu has to do a lot of research on his own to study the historical materials in the field of art of Catholic Church in China. If it is necessary, sometimes he could go to actual places to get real situations. By doing so, he tried to figure out the venation of the development of art in the Chinese Catholic Church from the faith point of view. This work tries to provide a possible reference model in the field of Church’s art for the Church itself and for the society. It is by his great efforts, we are able to come to know how the art of the Catholic Church enter China in the beginning, how it could consequently enter the center of nation’s conception in China, how it could step by step inosculate with the local cultural  art, and how it could finally complete the initial work of enculturation of Church art in China by making tough decisions. This work provides a clear direction for the development of art in the Chinese Catholic Church. This work well expresses the reality of church art’s pursuit of truth, goodness and beauty, and the philosophical concept of beauty of the Catholic Church, and the structure of value of the art of Chinese Catholic Church and so on.This work provides an outline for us in the field of church art with a quite academic level. We are glad to see that the publication of this book will certainly benefit the work of enculturation of the church art, and it will make a great contribution to the construction and development of the church art and to the mandate of church’s evangelization by affording excellent suggestions, guidance and references. I hope that all the clergy, nuns, lay people and all the people who are concerned about the development of Chinese Catholic Church as well as its art will be able to find many bright points in this book so that they may easily recognize the work of enculturation of church art which the Chinese Catholic Church has been doing. I wish that you may enjoy reading this work and be benefited from reading it.In a recent meeting, the Fifth Session of the Eleventh National People’s Congress, the Chinese premier, Mr. Wen Jiabao explicitly stated that all religious communities, religious clergy and faithful should bring all positive factors which are theirs into play in issues of economic construction, of social harmony and of cultural development. This work of Mr. Liu Ping is to be published in responding to this call, and it is also one of the concrete actions of the Chinese Catholic Church in an active response to the call of the State as well. Wishing through the constant efforts of church’s organizations and of all the faithful people, we can offer contributions to the development of the excellent religious culture in social culture and to the flourishing of the nation’s culture.May God bless our society and all readers of this work!The bishop of the Catholic Diocese of BeijingMarch 15, 2012 Beijing

II. Latin Styled Carved StoneThe Roman Catholic Church in the Ancient City of AlunsimuThe letters Montecorvino sent to Europe from the great capital city of Yuan also mentioned that Prince Zhao (Korguz), the leader of Wanggu tribe of Mongolia was converted from Nestorianism to Catholicism by Montecorvino’s persuasions. The city in which Korguz lived was so far away from the great capital city that it took about 20 days by walk. There was a grand Catholic Church building. That church building was as grand as the palace of the liege. When Korguz was still alive, Montecorvino used to be invited to celebrate liturgies in accordance with the Rites of the Roman Catholic Church in this grand church. Masses were celebrated in the local language9. That city is now the ancient city of Alunsimu in Inner Mongolia. That church building is the earliest Catholic Church building in Asia among all church buildings which have been discovered until now. This ancient city was the place that the Silk Road must pass through in the Yuan Dynasty. The original meaning of Alunsimu in Mongolian is “a place which is filled with many temples.”Japanese scholar, Egami Namio the director of the Asian Cultural Communication Center had ever been in this ancient city to do research for many times during his life, and he left his research recordation to the world.There was information about the Catholic Church building revealed in the recordation. First, Egami Namio found bricks which were carved with decorative pattern in Roman style on the foundation stones in the Site of the church building in the ancient city. Second, there was a stone lionhead being found and its height was about 15 cm. He believed that the stone lionhead was used by European royal families. There were stone lionheads used to be placed on the two armrests of the throne as fine decorations. He even dared to rather take a guess that the stone lionhead was the fine decoration placed on the bishop’s throne in the church. Third, he discovered a Nestorian lay person’s tombstone and there were a cross and Syriac carved on it. We can know from the recordation of Montecorvino that the offspring of Korguz was once converted from Nestorianism to Catholicism. Therefore, it is reasonable or understandable to find Nestorian carved stone in the Catholic Church. Fourth, after studying the scope of the present Site of the foundation stones, Egami Namio believed that the origin size of this church building was large enough and even it was possibly the largLatin Tombstone and Holy Well of Yuan Dynasty Unearthed in YangzhouWhen the municipal government of Yangzhou Jiangsu demolished the city wall to build roads in 1951, there were two steles unearthed. In spite of the small damage, they were basically in their integrity. There was an epitaph carved with very neat Latin Gothic styled words in each stele. Each stele also had excellent Latin styled curling grass decorative pattern and Chinese traditional technique of expression of art. Saint Katharine’s martyr stories and the content of the last judgment of the Bible were engraved on each stone as the fine decoration for the tombstones.Jesuit priest Father Ding Ruren who was in charge of Yangzhou diocese, got the rubbing edition of the tombstones from local people. He transferred the rubbing edition to Fr. Rouleau in Shanghai to do research on it. In April 1952, Vatican Osservatore Romano reported this matter in the first time. Two years later, Fr. Rouleau achieved a great deal in his research on the rubbing edition, and he published his article “Yangzhou Latin Tombstone” in the magazine of Harvard Asia Studies.Furthermore, during the reconstruction of the city of Yangzhou, there was a holy well discovered in a place which was not far from the two tombstones in Xi Cheng Yuan. There were some words engraved on the holy well “holy well, 21st day of the 12th lunar month, 26th year of Zhiyuan.” This holy well was particularly for the church to use in liturgical celebrations such as in baptism and in the Holy Week.