摘要
本文认为陕西韩城盘乐村宋墓壁画虽然以墓主人为中心,但是不能直接用墓主的工作、信仰和娱乐解释。该墓壁画将宋辽时期业已成熟和完善的图像重新组合、绘制在墓室的相应空间,从而产生了独特的建筑与图像程序和象征意义:寂灭为乐。通过艺术化、戏剧化的墓室环境完成了墓主生死的转化和超越。
This paper pointed out, in the murals of the tomb of the Song Dynasty at Panle Village in Hancheng, Shaanxi, the central role was indeed the tomb occupant, but the murals could not be directly interpreted as the reappearances of the work, belief and entertainment of the tomb occupant. The murals of this tomb assembled the motifs which had been matured and perfected in the Song and Liao Dynasties and painted them in the corresponding locations of the tomb chamber, and formed the unique symbolic meaning and procedure of the architecture and images： silent disappearance （death） is a joy. The transformation and transcendence of the life to death of the tomb occupant were completed through the artistic and dramatic tomb chamber settings.
出处
《文博》
2015年第5期57-64,共8页
基金
陕西历史博物馆2013年科研课题<陕西省新出土墓室壁画的调查研究>的阶段性成果
关键词
墓室环境
建筑与图像程序
象征意义
Tomb Chamber Settings
Architecture and Image Procedures
Symbolic Meanings
