大同辽墓壁画人物服饰再析  

A More Analysis of The Figures’ Costumes in The Murals of The Liao Tombs,Datong

作　　者：王春燕 Wang Chunyan

机构地区：[1]内蒙古师范大学历史文化学院

出　　处：《故宫博物院院刊》2023年第1期119-130,154,共13页Palace Museum Journal

基　　金：内蒙古社会科学基金后期资助项目“辽代服饰研究”(项目编号:22HQ13);国家社会科学基金项目“考古学视角下的元代服饰研究”(项目编号:22BKG029)研究成果。

摘　　要：山西晋北大同地区长期处于游牧与农耕区的交锋缓冲地带,文化面貌上极其复杂,在宋辽南北对峙阶段,在不同文化因素的交织下,该地区形成了地域特征极为明显的墓葬体系,其丰富的信息亦在墓葬壁画中有所体现。本文试图以人物服饰为切入点,运用考古学的基本研究方法,对收集到的壁画简报、图录中的服饰元素进行辨析、分解、组合,进而对八类着衣人群的民族、时代和等级进行探讨,并与邻近地区进行对比,以期获得对辽代大同地区墓葬壁画人物服饰面貌的整体性认识:以汉服为主流,其他服饰元素共存。中华民族多元一体融合发展的理念也在此阶段有所体现。Datong,located in the northern Shanxi of the buffer zone interlinking nomadic and agricultural areas,covering cultures of diversity and complex,has the funerary system with distinct regional features in the integrated-culture context during the north-south confrontation of the Song-Liao period,which is presented on the illustrated tomb walls.With archaeological approaches,this thesis uses the gathered materials sourced from mural pictorials and illustrated books for an analysis on the embodied elements of figures’ costumes by recognition,disintegration and combination as well as eight groups of people in dress by ethnicity,times and status,who are then compared with those of the tombs of neighboring areas,aiming for a full view at the varied featured-costumes shown in the tomb murals across Datong area of the Liao Dynasty----the Hanfu as the main was leading the costumes popular together,which represents the philosophy that Chinses was developing as a diversified and integrated nation.

关 键 词：大同辽墓 壁画人物服饰 整体性面貌 

分 类 号：TS941.12[轻工技术与工程—服装设计与工程] K879.41[历史地理—考古学及博物馆学] K246.1[历史地理—历史学]