北朝宫殿乘舆所绘孝子图像及政治意涵  

Filial Piety Images and Political Implications Painted in Chengyu in Northern Dynasty Palaces

作　　者：李金阳 LI Jin-yang(School of Marxism,Suzhou University,Suzhou Jiangsu,215006)

机构地区：[1]苏州大学马克思主义学院,江苏苏州215006

出　　处：《云冈研究》2024年第3期53-60,共8页Yungang Research

基　　金：2023年度苏州大学“人文社会科学基础性研究计划”资助项目“中古时期的孝义书写与孝义国家论”(23HQ1004)。

摘　　要：与南朝编纂《孝子传》及图画孝子不同,北朝的孝子图像,多见于墓葬及宫殿、乘舆。宫殿与乘舆因其功能特殊,权力象征意味极强,或者可以说二者本就是权力的载体。与孝子形象被图绘于宫殿内相应,忠谏直臣也被绘于殿外,这或许显示出北朝以忠孝之道维系社会政治秩序的企图。Pictures of filial piety in the Northern dynasties are more common in tombs,palaces,and on chengyu,which is different from what was recorded in the Book of Filial Piety and the pictures of filial children in the Southern dynasties.Because of their special functions,palaces and chengyu have strong symbolic meanings of power,or it can be said that they are the carriers of power.And some upright ministers were also painted on the walls of the palace,and it may show the Northern dynasty's attempt to maintain social and political order with loyalty and filial piety.

关 键 词：《孝子传》 孝子图 政治意涵 社会政治秩序 

分 类 号：K879.41[历史地理—考古学及博物馆学]