摘要
歌舞游宴的传统,能文能诗的蜀伶活跃于官府私第,兼之山川地土养成的灵心慧质,更有汇聚八方的文化交融,是川南宋墓石刻的社会成因和历史背景。以整个南宋为底色,从艺文的角度来审视川南宋墓石刻,并兼及"物"的考校,可以发现与"诗"(此中总括诗词歌赋与剧曲)相应的许多生活内容,这里有着对细节的格外用心以及随之而来的于表现内容的择取和表现形式的若干独创。虽然是墓室营建,但设计者和制作者意欲展示的依然是世间声色:快活、明朗、热闹。此外它的难得尚在于,古人言写真,即今所谓"肖像画",墓葬艺术并不在论列之内,然而掌握此项技艺的画手、刻工数量必然不少,他们与宋人笔下的写真高手当是声气相通,而成为推助肖像画发展的不可忽略的人群。川南宋墓石刻正是出自这样的创作者,今再现世间,对美术史来说,也是具有认识价值的宝贵资料。
The stone carvings of the Song dynasty tombs in southern Sichuan were formed on the basis of the folk conventions and cultural and social activities of Sichuan. This article studies the stone carvings in southern Sichuan in the social context of the Southern Song dynasty from the artistic perspective and also focuses on the carved objects, trying to associate them with poems＇ content by innovative methods. Although the stone carvings were only applied in tombs, the designers and the producers managed to display worldly amusement through them. They could not be counted as portrait painting, but those skillful stone carving craftsmen could often communicate with portrait painters and in some sense promoted the development of portrait painting. Therefore, the stone carvings of the Song tombs in southern Sichuan can also play an importance role an the study of fine arts history.
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2018年第4期120-130,共11页
Journal of National Museum of China
关键词
川南宋墓
兜鞋
灯毬
幡胜
扇鼓
Song tombs in southern Sichuan
putting on shoes
lantern-like hair ornament
fansheng [幡胜] head ornament
fan-shaped drum
