摘要
唐李徽墓壁画中的六扇花卉屏风是目前考古发现最早的花卉题材屏风画,其时正处在花鸟画萌发的关键阶段。作为精英性质的创作,花鸟屏风在发展初期以“祥瑞”的面貌出现在墓室壁画中,而其于中晚唐时期则演变为图像配置格套中的元素,成为表现内宅生活的重要组成部分。这种转变背后是日益增强的家庭观念、家族意识及由其所引发的丧葬观念的变化。
The wall-painted six-paneled screen with flower-and-plant pattern in Li Hui's Tomb of the Tang Dynasty is considered as the earliest screen-painting with floral motif ever-discovered by archaeology when the bird-and-flower genre in Chinese art is growing at the initial stage of formation and development.The earlier bird-and-flower screen looks'auspicious'usually painted on the walls around the coffin platform only.But,by the mid-late Tang dynasty,it has become an important element of certain motifs to show up in the inner tomb-chambers reaching out of the restrictions of multi-screened composition.It is viewed in the thesis that this floral screen-painting involves the issues on art history concerning not only the origin and evolution of fower-and-bird painting,but also the interaction between depiction and draft-drawing(Fenben),real life and funeral space.Therefore,this transformation from tomb-mural to inner-chambered decoration actually lies in people's growing consciousness of family and clan as well as the changed idea on funeral consequently.
出处
《故宫博物院院刊》
北大核心
2023年第8期58-69,133,共13页
Palace Museum Journal
关键词
唐代墓葬
墓室壁画
花鸟画
屏风
Tang tombs
muraled-painting of tomb chamber
painting with floral pattern
screen
