摘要
在《宣化下八里Ⅱ区辽壁画墓考古发掘报告》中,原报告对M1东壁左侧壁画的解读为:"画面绘出两处建在高台之上的房子,似为院子的正房和西房。正房(壁画右边)有二人,其中一老者,头戴黑色幞头,身着蓝色交领短襦,白色裤,盘腿坐于木榻上,木榻上方有重帐挽起,另一人,包髻,身穿赭色长裙,双手捧碗面向老者。西房(左边)内有一人,包髻,上身穿赭色短襦,白色裤,右手持刀,左手挽起左腿的裤子,目视腿部。画面反映的是二十四孝中闵子骞‘单衣顺母’的故事。"[1](图一,1)《中国出土壁画全集》认为该图反映的是二十四孝中的割股奉亲的场面[2],笔者赞同后者的说法,该壁画所呈现的应该是"王武子妻割股"故事。
In the report on the excavation of Xuanhua Lower Bali Cemetery-ⅡM1,two filial portraits on the murals were defined about the stories of"A Person in Reed Catkins Reclaimed His Stepmother"and"A Woman Abandoned Her Own Son to Save Her Brother’s Son"respectively,which did not match with the content of the murals.In fact,accordingly,the filial portraits described the stories of"A Woman Cut Herself to Cure Her Mother in law"and"A Person in Reed Catkins Reclaimed His Stepmother"in the"24 stories of filial piety".
出处
《边疆考古研究》
2019年第1期243-248,共6页
Research of China＇s Frontier Archaeology
