北魏平城墓志中北凉体异变文化交流考  

A Study on the Cultural Exchange and Variation of the North Liang Style in the Tomb Epitaphs of Pingcheng During the Northern Wei Dynasty

作　　者：常晓君[1] 史雅楠 CHANG Xiaojun;SHI Yanan(College of Fine arts,Films and Television;Research Center of Art Theory,Taiyuan Normal University,Jinzhong 030619,China)

机构地区：[1]太原师范学院美术与影视学院,山西晋中030619 [2]太原师范学院,艺术学理论研究中心,山西晋中030619

出　　处：《太原师范学院学报（社会科学版）》2023年第3期69-75,共7页Journal of Taiyuan Normal University:Social Science Edition

摘　　要：北魏平城时期的艺术具备民族化、多元融合、雅俗杂糅的时代特征,墓志书法作为墓葬艺术中的重要部分亦展现出独特的民族性和地域性,书体总趋势是由隶向楷转变。十六国时期,河西地区建立起很多草原民族政权,他们在书法艺术方面承袭汉晋遗风的同时汇入草原文明的特质,北凉体便诞生于民众书手之中。公元439年北魏灭北凉,北凉体进入北魏平城墓志的发展路径清晰可考,并且对后世产生了重要且深刻的影响。The art of the Pingcheng Period in Northern Wei featured ethnicization,multicultural fusion,and a blend of elegant and popular style.The calligraphy in tomb epitaphs,being a significant part of funerary art,also showcased unique ethnic and regional features with a prevailing trend towards the transition from clerical script to standard script.During the era of the Sixteen Kingdoms,several small political entities,predominantly ruled by steppe nomads,emerged in west China.While inheriting the artistic traditions of the Han and Jin Dynasties,they also incorporated the distinctive traits of steppe civilization into their calligraphic art.The North Liang style emerged among folk calligraphers.In 439 AD,Northern Wei conquered North Liang,so the tomb epitaphs of Pingcheng retained North Liang style,exerting a significant and profound influence on following generations.

关 键 词：北凉体 北魏平城 民族融合 

分 类 号：G122[文化科学] J292[艺术—美术]