四时之景生于笔下——辽庆东陵壁画《四季山水图》再探讨  

Recreating Landscapes of Four Seasons through Brushes:A Further Discussion on the Mural Landscapes of Four Seasons in the Eastern Qing Mausoleum of the Liao Dynasty

作　　者：魏聪聪[1] Wei Congcong(Central Academy of Fine Arts)

机构地区：[1]中央美术学院

出　　处：《美术》2023年第11期117-123,共7页Art Magazine

摘　　要：现存最早的四季山水画实物,出自辽庆东陵。本文从传统四时山水画论的角度重新解析庆东陵《四季山水图》的内容与艺术形式特点,进而探讨其与唐宋时期画论所记的四时山水画之异同。经比对后发现,庆东陵《四季山水图》继承了唐五代以来的绘画传统,但注重对契丹区域风貌的描绘,同时还受到同时代北宋流行的四时山水与四时花鸟题材的影响。在时代风格的影响下,庆东陵《四季山水图》对传统四季山水题材进行了创新与发展,形成了具有契丹特色的区域绘画风格。This paper analyzes the content and artistic characteristics of the Landscapes of Four Seasons excavated from the Eastern Qing Mausoleum of the Liao Dynasty,the earliest existing four-season landscape painting,from the perspective of traditional theories on fourseason landscape paintings,and analyzes similarities and differences between this painting and four-season landscape paintings recorded in painting theories of the Tang and Song Dynasties.After comparison,it is found that the Landscapes of Four Seasons carried forward painting traditions since the Tang and Five Dynasties,and focused more on depicting the Qidan region.Influenced by popular fourseason landscape and flower-and-bird paintings during the Northern Song Dynasty,Landscapes of Four Seasons represented new ways of creating traditional four-season landscape paintings and formed a painting style unique to the Qidan region.

关 键 词：四季山水图 庆东陵 四时山水画论 时代风格 区域风格 

分 类 号：K879.41[历史地理—考古学及博物馆学] J212[历史地理—历史学] K246.1[艺术—美术]