从北魏毛德祖妻张智朗墓石椁羽人像看南北朝文化融合问题  

On the Cultural Integration of the Northern and Southern Dynasties from the Tombstone Outer Coffin Feather Portrait of Zhang Zhilang,Mao Dezu’sWife in the NorthernWei Dynasty

作　　者：张伟艺 ZHANG Wei-yi(Datong Municipal Museum,Datong Shanxi,037009)

机构地区：[1]大同市博物馆,山西大同037009

出　　处：《山西大同大学学报（社会科学版）》2024年第3期77-82,87,共7页Journal of Shanxi Datong University(Social Science Edition)

摘　　要：羽人题材源于上古先民对鸟的崇拜,自商代起,人们受“升天”思想的影响,羽人形象作为一种装饰题材已广泛应用在人们的日常生活之中,尤其常见于墓葬壁画中。张智朗墓石椁门上的羽人画像,绘制得极为生动精美,尽管它出土于北魏都城平城地区,绘画技法也是北朝风格,但羽人画像所蕴含的寓意则与南朝其他墓中的羽人题材相同,是南北朝社会政治文化生活交流交往融合的必然产物。The subject of the feathered men originated from the worship of birds by the ancient ancestors.Since the Shang Dynasty,people believed their soul would go up to the heaven after dying,so the image of the feathered men has been used as a decorative motif on various utensils,especially in tomb murals.Although it was excavated in Pingcheng,the capital of the Northern Wei Dynasty,the skill of painting was also the Northern Dynasty style.The meaning of exquisite image of the featherd men on the stone coffin door in the tomb of Zhang Zhilang is the same as that in other tombs of the Southern Dynasties.That is the inevitable communication integration product of the society and cultural life between the Northern and Southern Dynasties.

关 键 词：毛德祖 石椁 羽人 

分 类 号：F812.9[经济管理—财政学] K235[历史地理—历史学]