摘要
本文通过梳理唐代石椁屏风线刻仕女的服装制式和风格,将陕西汉唐石刻博物馆藏椁壁线刻创作年代定为开元中期。至于唐代石椁屏风线刻中仕女的身份问题,通过对初唐至盛唐时期“宫人”身份复杂性的分析可以发现,石椁屏风线刻女性形象的表现,从死后侍奉转化为宫廷生活,这种变化依托于世俗政权的更迭与宫廷艺术的发展。
This article examines the clothing patterns and styles of line carved ladies on screens of stone coffins in the Tang Dynasty,and sets the creation period of the line carving on the stone coffin wall collected in Shaanxi Han Tang Stone Carving Museum as the mid-Kaiyuan period.As for the issue of the identity of the beauties of line carvings on the stone coffin screen in the Tang Dynasty,through analysis of the complexity of the identity of“women in palace”from the early Tang Dynasty to the prosperous Tang Dynasty,it can be found that the representation of line-carving female images on stone coffin screen shifted from serving after death to life in palace,which relied on the change of secular power and the development of palace art.
出处
《南京艺术学院学报（美术与设计）》
CSSCI
北大核心
2024年第5期14-19,I0001,共7页
Journal of Nanjing University of The Arts:Fine Arts & Design
基金
国家社科基金宗教学一般项目《儒释道美术考古材料的分布体系与宗教关系研究》(23BZJ038)阶段性研究成果。
关键词
唐代石椁
屏风
仕女画
宫廷生活
stone coffin in the Tang Dynasty
screen
beauty portrait
palace life
