技术与艺术的“协商”——论北朝墓道壁画两种区域装饰传统的成因  

Art&Technology as the Factors Generating Two Regional Traditions of Tomb Entrance Passage Illustration in The Northern Dynasty

作　　者：李明倩 李清泉[1] Li Mingqian;Li Qingquan

机构地区：[1]山东大学文化遗产研究院 [2]山东大学博物馆

出　　处：《故宫博物院院刊》2025年第3期56-77,148,共23页Palace Museum Journal

摘　　要：魏晋以降,墓葬形制的一大变化为墓道成为墓室建筑之外的一个备受重视的营造区域。北朝晚期,与这一变化相表里的墓道壁画在北方地区也应运而生。本文着眼于“技术”与“艺术”之间的关联,尝试揭示以邺城为中心的东部地区和以长安为中心的关中地区,分别基于“阶梯”式和“过洞-天井”式两种墓道修筑技术所发展出的两套特色鲜明的墓葬区域装饰传统。前者以仪仗人物为基本母题,并因应壁面情况而扩展表现题材,以彰显墓主人的身份和威仪;后者则赓续十六国之装饰传统,并依托墓道中的过洞区域构建出“守卫重门”的空间意象。With the tomb structures developing over the Wei and Jin Dynasties,the entrance passage to tomb gate got attached importance as much as the tomb chambers in decoration,with the wall painting emerging right along the passage of the entrance in the north areas by the late Northern-Dynasty.This thesis starts from both'art'and'technology'to demonstrate the tomb-passage illustration and construction system respectively based on the'stairway'model in the east area with Ye cheng as the center and the'do or way-skylight'structure in Guanzhong area with Chang'an as the center.The ritual ceremony as the major theme of the tomb-passage paintings around Yecheng area symbolizes the tomb master's status and prestige.In some cases,the wall painting presents a wider range of subjects,which is specifically decided by the wall condition.Whereas the Guanzhong region follows the conventional motifs from the Sixteen Kingdoms Dynasties with the pictorial scenes of the tomb gate being heavily guarded'along the doorways through the passages.

关 键 词：北朝 墓道 营造技术 装饰传统 

分 类 号：K879.4[历史地理—考古学及博物馆学]