《东大寺献物帐》所载画屏风中“大唐样式”画题考  

Study on "Tang Style" Screen Paintings Recorded in Todai-ji Kenmotsu Cho

作　　者：张焱维 刘瑜 Zhang Yanwei;Liu Yu(College of Fashion and Design,Donghua University)

机构地区：[1]东华大学服装与艺术设计学院

出　　处：《美术》2024年第8期100-109,共10页Art Magazine

基　　金：国家社会科学基金重大招标项目《丝绸之路中外艺术交流图志》(项目编号:16ZDA173)的阶段性研究成果。

摘　　要：日本正仓院藏《东大寺献物帐》是记载其宝物来源的初始文字记录,具有重要的文本参照价值。本文通过其中所载画屏风条目的整理解读,结合正仓院文书《杂物出入帐》中条目补充,以及现存同时期中日两国相关图像及文献资料,考证其中“大唐样式”画题的构成与图式。“大唐样式”画题涵盖了描绘盛唐宫廷生活的时样、盛唐前带有训鉴意味的古样、寻仙访道三个类别,分别对应了屏风的欣赏、劝诫、供奉三大功能。帐中所载画屏风被作为奈良宫廷中重要的政治文化装备,足见“唐风文化”对日本的影响之深。The Todai-ji Kenmotsu Cho collected by Shoso-in,Japan is the original written record of the source of its treasures and is thus of great importance in reference.This article examines the composition and patterns of"Tang style"paintings recorded in it by sorting out and interpreting painting screen entries and studying supplementary entries in the document Zatsumotsu shutsunyuu Cho and relevant paintings and materials of the same period from China and Japan.Paintings in"Tang style"cover three categories,namely court life of the prosperous Tang Dynasty,ancient paintings with warning functions before the prosperous Tang Dynasty,and the process of seeking immortals and pursuing Taoism,which correspond to three major functions of screen:appreciation,admonition and worship.It is evident that painting screens served as important political and cultural equipment in the Nara court,reflecting the profound influence of"Tang culture"on Japan.

关 键 词：东大寺献物帐 屏风画 唐物 大唐样式 美术交流 

分 类 号：J209.313[艺术—美术] K313.24[历史地理—历史学] J209.2[历史地理—世界史] K242[文化科学—图书馆学] G256