摘要
"叉手"礼是中国古代的一种礼仪,最初为佛教礼仪,隋唐时期成为世俗专用名称。唐末、五代时"叉手"礼就已出现在壁画中,是宋辽金元时期十分流行的墓葬壁饰题材之一。传统"叉手"礼为左手向外,然而辽金壁画墓中却出现了右手向外的反"叉手"礼。作者通过对宋辽画师队伍的产生、流向及社会际遇的解析,提出辽金墓葬中出现的反"叉手"礼现象并非个例,而是画师有意为之,是在民族融合的时代背景下,画师民族认同心理过程的反映。
The"forked hand"ceremony is an ancient Chinese etiquette,originally a Buddhist etiquette,and becomes a secular custom in the Sui and Tang dynasties.In the late Tang dynasty and the Five Dynasties,the"fork hand"ceremony has already appeared in murals.It is a very popular burial wall decoration theme in the Song,Liao,Jin and Yuan dynasties.The traditional"fork hand"ceremony is with the left hand outward,while the reverse"fork hand"ceremony appears in the tombs of Liao and Jin murals.Based on the analysis of the generation,direction and social encounter of the painting teams of the Song and Liao dynasties,the author proposes that the reverse"fork hand"ceremony in the Liao and Jin tombs is not an individual case,but the intentional act of the painting masters,which is the reflection of the painting masters'psychological process of national identity under the background of ethnic integration.
作者
郑承燕
Zheng Chengyan(Inner Mongolia Museum , Inner Mongolia Hohhot 010010)
出处
《内蒙古艺术学院学报》
2018年第4期118-125,共8页
Journal of Inner Mongolia Arts University
基金
国家社科基金西部项目<辽代墓葬制度的考古发现与研究>(项目批准号:13XKG003)的阶段性研究成果
关键词
民间画师
壁画
叉手礼
folk painter
mural
"forked hand" ceremony
