再谈南朝墓《七贤与荣启期》砖印壁画  

Rethink the Brick Frescos in Xi Shan Qiao, Nanjing and Three Sout h-Qi Tombs in Danyang

作　　者：林树中[1] 

机构地区：[1]南京艺术学院,江苏南京210000

出　　处：《艺术探索》2005年第1期11-23,共13页Arts Exploration

摘　　要：南京西善桥壁画墓为南朝宋前废帝刘子业墓(成于景和元年,465年)或后废帝苍梧王刘昱墓(成于元徽五年,477年)。《七贤与荣启期》砖印壁画包括丹阳南齐三陵的壁画,其母本的作者是生活在南朝宋、齐间的画家陆探微。南齐三陵中砖印壁画《羽人戏龙图》、《羽人戏虎图》中的“羽人”和“天人”的形象等具有“秀骨清像”的陆探微风格,论证南齐三陵的砖印壁画整个笼罩在陆探微画风之中。The author published an article entitled Probe Into the Brick Fresco o f South Qi, in Danyang, JiangSu Province on Cultural Relic (l977-l). The author questioned the painter of the original, and the period of the brick frescos of S even Virtuous Persons and Rong Qiqi in Xi Shan Qiao, Nanjing. In this essay, the author further deduces that the real person in the Xi Shan Qiao Tomb, which was built in 465, the first year of Jing He, is either the uncrown emperor Liu Ziye , who lived in Song State, South Dynasty, or the second uncrown emperor Liu Yi, whose tomb was built in 477, the eighth year of Yuan Hui. The brick frescos Seve n Virtuous Persons and Rong Qiqi and the three Danyang South Qi tombs are from t he same painter Lu Tanwei, who should be the original painter, and who lived in the period between Song State and Qi State of South Dynasty. By analying the sty le of the images of the feather-wing persons and the Tianren in the frescos of t he Feather-wing Person Plays the Dragon, and the Feather-wing Person plays the T iger, the author finds that they are emboded the style of Lu Tanwei, that is, Pi zazz and Comeliness, and further probes into Lu Tanwei's birth, art style, and general age style then.

关 键 词：南朝 陵墓 《七贤与荣启期》 砖印壁画 陆探微 

分 类 号：K879.44[历史地理—考古学及博物馆学]