略论余杭小横山南朝墓飞天与莲花化生图像的艺术特征及信仰内涵  

On the Artistic Characteristics and Connotation of the Images of Flying Apsaras and Lotus Generation in the Tomb of the Southern Dynasty in Xiaoheng Mountain, Yuhang

作　　者：李慧国 LI Hui-guo(School of Arts,Southeast University,Nanjing 211189,China)

机构地区：[1]东南大学艺术学院,南京211189

出　　处：《北京舞蹈学院学报》2022年第2期34-45,共12页Journal of Beijing Dance Academy

基　　金：国家社科基金重大项目“多卷本《中国宗教美术史》”(项目编号17ZDA237)研究成果。

摘　　要：余杭小横山南朝墓模印画像砖上的飞天与莲花化生图像是南朝墓室壁画中非常重要的佛教图像遗存,其类型与样式之丰富在同时代其他地区的墓葬中是不可多见的。这些图像采用了单独纹样的图案设计样式,在视觉空间上追求对称法则,语言风格上追求线性之美,与精美的莲花纹饰成为整个墓葬空间最主要的装饰题材。与东汉晚期以来墓室壁画上大量出现的佛像、飞仙、羽人不同,小横山南朝墓中的飞天、化生图像并未出现与传统神仙图像紧密组合的现象,而是与净瓶、法轮、摩尼宝珠、狮子等成体系的佛教图像因素组合出现,巧妙而象征性地体现了南朝丧葬礼俗中的净土信仰,营造了一个往生西方极乐世界的特殊墓葬礼仪空间。The images of flying Apsaras and lotus generation on the moulded relief brick of the tomb of the Southern Dynasty in Xiaoheng Mountain, Yuhang are important Buddhist image relics of the tomb murals in the Southern Dynasty. Their rich types and styles are rare in tombs in other areas of the same era. These images adopt the design style of seperate patterns, and pursue the principle of symmetry in the visual space, and the aesthetic feeling of linearity in the artistic language. Together with the exquisite lotus patterns, they have become the main decorative theme of the whole tomb space. Different from the large number of Buddha statues, flying immortals and feather men on the tomb murals since the late Eastern Han Dynasty, the images of flying Apsaras and Buddhist generation in the tomb of the Southern Dynasty in Xiaoheng Mountain are not closely combined with the traditional immortal images, but with the systematic Buddhist image elements such as treasured vase, prayer wheel, Mani Jewel and lions. They ingeniously and symbolically embody the belief of Pure Land Sect in the funeral custom of the Southern Dynasty, and create a special tomb etiquette space in the pure land of bliss.

关 键 词：小横山南朝墓 模印画像砖 飞天 莲花化生 丧葬礼俗 净土信仰 

分 类 号：J709[艺术—舞蹈]