身份与艺术:北朝艺术中的“参与者”考察  

Identity and Art:An Exploration of“Participants”in the Arts of Northern Dynasties

作　　者：冉令江 RAN Lingjiang(School of Fine Arts,Shanxi University,Taiyuan,Shanxi 030006,China;National Museum of China,Beijing 100006,China)

机构地区：[1]山西大学美术学院,山西太原030006 [2]中国国家博物馆,北京100006

出　　处：《贵州大学学报（艺术版）》2024年第4期44-53,共10页Journal of Guizhou University Art Edition

基　　金：教育部人文社科规划青年项目“中国国家博物馆藏敦煌吐鲁番写经书法整理与研究”(项目编号:23YJC760096);中国博士后科学基金第74批面上资助(项目编号:2023M743317)。

摘　　要：北朝是中国历史上最为动荡的时期之一,但也是一个极其开放、多元,民族大迁徙、大融合的历史时期。由于鲜卑族和鲜卑化少数民族的统治,艺术的“参与者”与南朝相比明显不同且较为复杂。在民族融合发展的不同历史阶段,北朝文化艺术受不同“参与者”的影响,呈现出明显的转型。以士人和百工伎艺所构成的艺术创作主体,无疑直接决定了北魏艺术的风格样式。作为“隐藏”在艺术创作和艺术作品背后的“赞助人”,同样也是艺术活动的“参与者”,对北朝艺术及其风格的形成和演变起着不可忽视的间接影响。The period known as the Northern Dynasties(439—581)was one of the most tumultuous in Chinese history,yet it was also an era marked by extraordinary openness,diversity,mass migrations,and cultural exchanges.Due to the rule of the Xianbei people and that of the ethnic minorities greatly influenced by Xianbei culture,the“participants”in art were significantly different and more complex compared to those in the Southern Dynasties.And in different historical stages of national integration and development,the arts and culture of the Northern Dynasties were influenced by various“participants,”resulting in obvious transformations.The creation subjects in art consisting of scholars and artisans,undoubtedly determined directly the styles and forms of the art in the Dynasty of Northern Wei(386-534).Moreover,the“patrons”concealed behind the artistic creation and artworks were active participants in artistic activities as well,who played an indelible indirect role in the formation and evolution of the art in Northern Dynasties.

关 键 词：北朝艺术 士人 百工 伎艺 赞助人 

分 类 号：J120.9[艺术—艺术理论]