滑稽与笑谏:三国朱然墓漆画中的“俳奴”与“俳儿”  

Humor and Satirical Persuasion:"Painu"(Jesters)and"Pai'er"(Actors)in the Lacquer Paintings of Zhu Ran's Tomb from the Three Kingdoms Period

作　　者：周方 ZHOU Fang(Shanghai Academy of Fine Arts,Shanghai University,Shanghai,200444)

机构地区：[1]上海大学上海美术学院,上海200444

出　　处：《东南文化》2023年第4期92-96,97,98,共7页Southeast Culture

基　　金：2021年度国家社科基金艺术学重大项目“中国戏曲服饰研究”(项目批准号:21ZD14)阶段性成果。

摘　　要：汉末三国时期的优人群体中有“俳奴”与“俳儿”的区分,“俳奴”形貌亵狎,隐没于百戏群体之中;“俳儿”被豢养于内廷,还有专门的演出服饰。在朱然墓“宫闱宴乐图”漆案上“俳奴”与“刍人”同画面共存,说明俳优与侏儒不能简单地划上等号;漆画中“俳奴”与“俳儿”的眼部描绘还为我们揭示了古代俳优群体为盲人的可能性。During the late Han and Three Kingdoms period,there existed a distinction between the social groups known as painu(jesters)and pai'er(comic actors).Painu had a vulgar appearance and were obscured within the performing arts community,while pai'er lived in the imperial court and had specialized performance attire.The lacquer painting Palace Banquet and Music in Zhu Ran's tomb depicts painu and churen(dwarf actors)together,indicating that paiyou are not the same as dwarfs.Moreover,the eye depiction of painu and pai'er in the lacquer paintings suggests that the two groups might be blind individuals.

关 键 词：三国 朱然墓 俳优 俳奴 俳儿 

分 类 号：K871.42[历史地理—考古学及博物馆学]