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本文重点分析、释证浙江余杭小横山南朝画像砖墓中飞仙和仙人画像。根据制法将其分为独幅和拼幅两类。独幅画像均为线雕,一般砌于封门的券门直壁或者墓室南壁两侧墙面上,数量最多。拼幅画像砌于墓室两侧壁面,分线雕和高浮雕两种,数量相对较少。仙人画像均为线雕独幅画像,主要骑乘龙虎或凤凰。飞仙画像独幅和拼幅均有,按题材可分为伎乐类、供养类和侍从类,主要是作为仙人的前导或随从,两者属于不同层次,但往往一起组合使用。飞仙从魏晋时期开始流行,主要以年轻貌美的女性形象出现,到南北朝时,形成了飘逸秀美的时代风格。魏晋时期,随着玄学思想流行和门阀世族对养生求仙的热衷,仙人形象或为隐逸高士,或为神祇后妃,到南北朝时期,仙人禽兽的组合已经成为墓室绘画的主要题材,仙人骑龙虎或凤鸟十分流行,其流风蔓延影响至隋唐乃至更后。
This article focuses on analysis, interpretation of Zhejiang Yuhang Xiaowan Shan South Tomb portrait cemetery cents and fairy portraits. According to the system of law is divided into two kinds of single-width and spell. The single portraits are all line carvings, and are usually built on the straight wall of the coupon door or the wall on both sides of the south wall of the tomb with the largest number. Collage portrait puzzle in the tomb on both sides of the wall, sub-line carving and high embossed two, the number is relatively small. The fairy portraits are a single line portrait of the portrait, the main riding dragon or phoenix. The Feixiangu portraits are both single-piece and spell-like. According to the theme, they can be divided into the genre of magic, the support class and the attendants. They are mainly used as the guide or follower of the fairy, which belong to different levels but are often combined and used together. Feixiang began to popularize from the Wei and Jin Dynasties, mainly in the appearance of young and beautiful female figures. When the Northern and Southern Dynasties, it formed a beautiful and elegant style. During the Wei and Jin Dynasties, with the popularity of metaphysics and the enthusiasm of the family of gatekeeper to keep their health, the fairy image was either a seclusionist or a concubine of gods. By the time of Southern and Northern Dynasties, the combination of immortal beasts and animals had become the main theme in the tomb painting. Tiger or phoenix bird is very popular, the spread of its influence to the Sui and Tang even more.