唐代石椁屏风线刻仕女身份研究——以陕西汉唐石刻博物馆藏椁壁线刻为中心  

Research on the Status of Ladies Engraved with Lines on Screens of Stone Coffins in the Tang Dynasty-Case study of the line carvings on the coffin wall in the collection of Shaanxi Han and Tang Stone Carving Museum

作　　者：王雪苗 Wang Xuemiao

机构地区：[1]浙江大学艺术与考古学院,浙江杭州310058

出　　处：《南京艺术学院学报（美术与设计）》2024年第5期14-19,I0001,共7页Journal of Nanjing University of The Arts:Fine Arts & Design

基　　金：国家社科基金宗教学一般项目《儒释道美术考古材料的分布体系与宗教关系研究》(23BZJ038)阶段性研究成果。

摘　　要：本文通过梳理唐代石椁屏风线刻仕女的服装制式和风格,将陕西汉唐石刻博物馆藏椁壁线刻创作年代定为开元中期。至于唐代石椁屏风线刻中仕女的身份问题,通过对初唐至盛唐时期“宫人”身份复杂性的分析可以发现,石椁屏风线刻女性形象的表现,从死后侍奉转化为宫廷生活,这种变化依托于世俗政权的更迭与宫廷艺术的发展。This article examines the clothing patterns and styles of line carved ladies on screens of stone coffins in the Tang Dynasty,and sets the creation period of the line carving on the stone coffin wall collected in Shaanxi Han Tang Stone Carving Museum as the mid-Kaiyuan period.As for the issue of the identity of the beauties of line carvings on the stone coffin screen in the Tang Dynasty,through analysis of the complexity of the identity of“women in palace”from the early Tang Dynasty to the prosperous Tang Dynasty,it can be found that the representation of line-carving female images on stone coffin screen shifted from serving after death to life in palace,which relied on the change of secular power and the development of palace art.

关 键 词：唐代石椁 屏风 仕女画 宫廷生活 

分 类 号：J209[艺术—美术]