基于南朝石刻研究的“透明之石”问题反思——巫鸿著述《礼仪中的美术》献疑  

Reflection on the Issue of“Transparent Stone”Based on the Study of Stone Carvings in the Southern Dynasty--Doubts about Art in Its Ritual Context by Wu Hong

作　　者：杨祥民 Yang Xiangmin

机构地区：[1]南京艺术学院艺术研究院,江苏南京210013

出　　处：《南京艺术学院学报(美术与设计)》2025年第1期95-102,210,共9页Journal of Nanjing University of The Arts:Fine Arts & Design

基　　金：国家社会科学基金艺术学项目《南朝陵墓石刻与南朝文化关系研究》(21BF085)阶段性研究成果;江苏高校“青蓝工程”;南京艺术学院青年教师自主科研计划支持。

摘　　要：巫鸿将南朝陵墓石刻上的正、反书作为镜像问题分析,并以“透明之石”作喻引入“倒像”“反观”等概念的研究,但相关依据失实而造成理论依据动摇。其关于南朝石刻“反左书”和陵墓石兽的认识也于实不符、值得商榷。从“礼仪中的美术(艺术)”转换视角为“美术(艺术)中的礼仪”,或有助于认清多元艺术世界的多元“阈界点”现象。Wu Hong analyzed the front-side and reverse-side inscriptions on the stone carvings of tombs in the Southern dynasty as issue of mirror image,and took“transparent stone”as the metaphor to introduce the study of concepts like“inverted image”and“reflection.”However,the related evidence was false,which caused his theory not right.His understanding of the“reverse-side left-hand calligraphy”(fan zuo shu)in the stone carvings and the tomb beast stone sculptures in tombs in the Southern dynasty were also inconsistent with the reality and need to discuss.Transitioning from the perspective of“art in its ritual context”to“ritual in art”may help to recognize the phenomenon of multiple“threshold points”in the diverse art world.

关 键 词：南朝石刻 反左书 “透明之石” 反观 

分 类 号：J302[艺术—美术]