稽前王之采章 成一代之文物--陕西潼关税村隋墓画像石棺的视觉传统及其与宫廷匠作的关系  

On Shaan’xi Shui Village’s Sui-dynasty Stone Pictorial Coffin in Its Traditional Vision and Relations with the Court Craftsmen

作　　者：贺西林[1] He Xilin

机构地区：[1]中央美术学院人文学院

出　　处：《故宫博物院院刊》2021年第12期56-73,136,137,共20页Palace Museum Journal

基　　金：文化名家暨“四个一批”人才工程自主项目课题“汉唐视觉文化研究”成果。

摘　　要：本文以陕西潼关税村隋废太子、房陵王杨勇墓画像石棺为研究对象,将其置于中古中国历史发展脉络和南北互动、中西交通的格局中,讨论了石棺画像的视觉传统及其与宫廷匠作的关系。首先,作者追溯了图像的视觉传统,认为此传统萌自东汉,臻于北魏,续于南北朝后期,沿革有绪,发展未曾断裂,否认"复古"之说。其次,作者列举了宇文恺、何稠、阎毗、黄亘、黄衮几位隋廷技艺臣僚的匠作经历和成就,认为其中或有人参与杨勇墓的相关营造事务,进而推测阎毗诏领参与的可能性最大,且主导了石棺画稿的创作和绘制。The thesis takes as the case of the images on the stone coffin of Fangling King Yang Yongs tomb,who was the deposed prince of the Sui Dynasty,for an explorative discussion about their visual tradition and relations with the imperial court craftsmen in the historical context of medieval Chinas development along with the north-south interaction and Sino-West communication,followed by:Firstly,The‘images’are visually based on the traditional motif that grew up in the Eastern-Han,developed perfect in the Northern-Wei and kept forward by the late Southern-and-Northern dynasties all the way,so it is succession rather than Return*to tradition.Second,the contrast analysis of the career experiences and achievements of the Sui court craftsmen such as Yu Wenkai,He Chou,Yan Pi,Huang Gen and Huang Gun comes to the judgment that some of them were likely to be involved in the construction of Yang Yongs tomb,and Yan Pi is the likeliest as the chief in charge of designing and drafting manuscripts for the stone coffin.

关 键 词：画像石棺 视觉传统 《洛神赋图》 宫廷匠作 杨勇 阎毗 

分 类 号：K878.8[历史地理—考古学及博物馆学] K241[历史地理—历史学]