汉唐时期孔雀图像研究  

A Review of the Peacock Imagery through the Han-Tang Dynasties

作　　者：赵小莹 Zhao Xiaoying

机构地区：[1]中国人民大学历史学院

出　　处：《故宫博物院院刊》2025年第4期104-118,158,159,共17页Palace Museum Journal

基　　金：2020年国家社科基金重大项目“隋唐五代壁画墓与中古文化变迁研究”(项目编号:2020&ZD249)的阶段性研究成果。

摘　　要：孔雀形象在汉唐墓葬装饰、器物装饰和佛教艺术中较为常见,但学界对其形象的甄别与图像学意义关注有限。汉唐时期,孔雀图像先后演化出七种不同的尾部表现形式,形象的演变也对应着时人们对孔雀认知的变化。汉代孔雀与神鸟的形象界限模糊,南北朝时期孔雀逐渐与神鸟分离,被赋予了祥瑞与佛教瑞鸟的意涵。而在唐代,孔雀图像一方面逐渐退出墓葬装饰,另一方面则进一步走向世俗化。这一现象与朝代更迭中政治文化的变迁密切相关。Peacock motif commonly shown as ornaments in the tombs, instruments and Buddhist art from the Han to the Tang dynasties is less reviewed by scholars as for the identification and implication of the images from the point of iconography. The imagery peacocks are growing into seven tail-feather styles that represent the changing conceptions of the people towards the peacocks in their mind all the way through the long period. In the Han Dynasty, the depictions of peacocks and other divine birds were similar. By the Southern and Northern Dynasties, the peacock images grows distinct from divine birds and manifested as auspicious symbol. In the Tang dynasty, peacock motif is getting off tomb decorations, but tending to be secularized, a phenomenon closely tied to political and cultural transformations during dynastic transitions.

关 键 词：孔雀图像 汉唐时期 祥瑞 墓葬装饰 佛教艺术 

分 类 号：K879.3[历史地理—考古学及博物馆学]