唐乾陵陪葬墓石椁线刻画分析——以线刻人物画为主
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摘要
1960~1972年,陕西考古工作者先后抢救性发掘了陪葬乾陵的唐永泰公主墓、章怀太子墓和懿德太子墓。三墓不仅出土了以唐三彩为主的大量珍贵文物,还各出土精美石椁一具。作为唐代最高等级葬具的三具石椁不仅造型高大雄伟、尊贵典雅,而且在其内外壁上还刻绘有大量线刻画,精细传神,美不胜收。本文拟就这些线刻画的内容、题材、雕刻技法、构图技巧以及艺术成就等浅做分析。
In 1960 to 1972, the archaeologists of Shaanxi Province conducted rescue excavations to the tombs of Princess Yongtai and Princes Zhanghuai and Yide, which were all attendant tombs of the Qianling Mausoleum of the Tang Dynasty. From these three tombs, large amount of valuable artifacts including sancai(three-color ware) pottery were unearthed, and each of them yielded an elaborately carved sarcophagus. As the highest-ranking burial receptacle, these three sarcophagi are made not only magnificent and elegant, but fully decorated with fine and vivid incised line drawings on the inner and outer walls. This paper made an outlined analysis to the contents, motifs, incising skills and artistic achievements of these incised line drawings.
In 1960 to 1972, the archaeologists of Shaanxi Province conducted rescue excavations to the tombs of Princess Yongtai and Princes Zhanghuai and Yide, which were all attendant tombs of the Qianling Mausoleum of the Tang Dynasty. From these three tombs, large amount of valuable artifacts including sancai(three-color ware) pottery were unearthed, and each of them yielded an elaborately carved sarcophagus. As the highest-ranking burial receptacle, these three sarcophagi are made not only magnificent and elegant, but fully decorated with fine and vivid incised line drawings on the inner and outer walls. This paper made an outlined analysis to the contents, motifs, incising skills and artistic achievements of these incised line drawings.
引文
[1]王树村:《中国石刻线画略史》,见《中国美术全集·绘画卷》19第1页,上海人民出版社,1988年。
[2]石椁门户之上的宦官多有腰佩鱼符者。另据章怀太子墓前甬道东壁所绘宦官,左手斜指右手托持的鱼符之下挂着一把钥匙(申秦雁主编,《神韵与辉煌—陕西历史博物馆国宝鉴赏·唐墓壁画卷》第94页,三秦出版社,2006年)。
[3]目识心记,是指中国画家积极调动全身的感觉和思维器官功能,在反复观察、分析、体验、识别、总结客观世界的外在特征,通过大脑对事物的不断选择取舍,储存在大脑中,从而形成对客观世界全面而稳定的认识。它是中国画家观察和认识客观世界进而从事写生和创作的方法。“目识心记”一词最早出现在《宣和画谱》中,南唐后主李煜疑其大臣韩熙载生活放纵,“……乃命顾闳中夜及其第,窃窥之,目识心记,图绘以上之”。
[4]刘凤君:《美术考古学导论》第278页,山东大学出版社,2002年。
[5]刘凤君:《考古中的雕塑艺术》第255页,山东画报出版社,2009年。“盘屈线”应该化自“屈铁盘丝”一词。张彦远在《历代名画记》中评价唐初西域画家尉迟二僧绘画用线时有这样的句子:“小则用笔紧劲,如屈铁盘丝,大则洒落有气概。”
[6]李杰:《浅谈唐代石椁人物线刻的创作主体》,《陕西教育》(高教)2012年第10期。
[2]石椁门户之上的宦官多有腰佩鱼符者。另据章怀太子墓前甬道东壁所绘宦官,左手斜指右手托持的鱼符之下挂着一把钥匙(申秦雁主编,《神韵与辉煌—陕西历史博物馆国宝鉴赏·唐墓壁画卷》第94页,三秦出版社,2006年)。
[3]目识心记,是指中国画家积极调动全身的感觉和思维器官功能,在反复观察、分析、体验、识别、总结客观世界的外在特征,通过大脑对事物的不断选择取舍,储存在大脑中,从而形成对客观世界全面而稳定的认识。它是中国画家观察和认识客观世界进而从事写生和创作的方法。“目识心记”一词最早出现在《宣和画谱》中,南唐后主李煜疑其大臣韩熙载生活放纵,“……乃命顾闳中夜及其第,窃窥之,目识心记,图绘以上之”。
[4]刘凤君:《美术考古学导论》第278页,山东大学出版社,2002年。
[5]刘凤君:《考古中的雕塑艺术》第255页,山东画报出版社,2009年。“盘屈线”应该化自“屈铁盘丝”一词。张彦远在《历代名画记》中评价唐初西域画家尉迟二僧绘画用线时有这样的句子:“小则用笔紧劲,如屈铁盘丝,大则洒落有气概。”
[6]李杰:《浅谈唐代石椁人物线刻的创作主体》,《陕西教育》(高教)2012年第10期。