鲁迅与汉代石刻造像艺术  

Lu Xun and Pictorial Stones of Han Dynasty

作　　者：张素丽[1] 

机构地区：[1]防灾科技学院,河北三河065201

出　　处：《北京科技大学学报（社会科学版）》2013年第3期51-56,共6页Journal of University of Science and Technology Beijing(Social Sciences Edition)

基　　金：2012年中国地震局教师科研基金项目"中国现代生态文学研究"(编号:20120115)阶段性成果;防灾科技学院2012年教研教改项目"<中国现代文学>课程教学内容‘专题式’整合设计方案研究"(编号:2012B15)阶段性成果

摘　　要：鲁迅的汉画像收藏多山东、河南、四川、陕西等地出土作品,品类丰富,以能表现当时社会风俗者尤为佳,颇不乏拓工、艺术兼美的精品和珍品。鲁迅对汉唐文化神往的背后隐含着他莫大的焦虑和罕见的激情。鲁迅对汉代石刻艺术的嗜爱主要表达了四种潜在诉求:对民族文化自信力的召唤、对庶民世界理想国的向往、对民间立场的执守、对历史真实的艺术追寻。Lu Xun＇ s collections of pictorial stones of Han Dynasty were mostly from Shandong, Henan, Sichuan and Shanxi. The collections were of rich categories. The ones that represented the social customs of Han Dynasty were best, and some of which were even boutiques with both good rubbings and exquisite art. Lu Xun＇s love of culture of Han and Tang Dynasty showed his great anxiety and rare enthusiasm. Lu Xun＇s favorite of pictorial stones of Han Dynasty mainly conveyed four potential demands： the call for national cultural self-confidence, the yearn of plebeian utopia, the sticking of folk position and the artistic pursue of historical truth.

关 键 词：汉代石刻 民间立场 文化自信力 

分 类 号：I210[文学—中国文学]