A Preliminary Study of the Lacquerware of the Northern Dynasties, with a Special Focus on the Pingcheng Period (398–493)

IF 0.3 4区 社会学 0 ASIAN STUDIES Early Medieval China Pub Date : 2019-01-01 DOI:10.1080/15299104.2019.1660087
S. Müller
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引用次数: 1

Abstract

After the Han, lacquer finds in tombs in the Chinese world generally became rare both in the north and in the south. However, in northern China, especially during the Pingcheng period (398–493) of the Northern Wei, a certain resurgence was experienced. The later Northern Dynasties then see a drastic reduction in realia finds again. The lacquers in Pingcheng tombs were mostly used to present funerary offerings of sacrificed animals. Many lacquers were presumably products of previous ages, but some were newly manufactured in Pingcheng. In the Pingcheng funerary cult, lacquers were used in novel ways, and with novel ornamentation, as tableware for sacrifices took root in northern Shanxi. Such practices are not found elsewhere. The unique lacquer-painted coffins of Pingcheng bear images of Xianbei or Central Asians, accompanied mostly with motifs and patterns in the style of Yungang art. Based on a dominant human imagery accompanied by decorative elements, the possible origin of the famous lacquered screen from the tomb of Sima Jinlong is also briefly discussed.
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北朝漆器初探——以平城时期(398-493)为例
汉朝以后,无论是在北方还是在南方,中国古墓中发现的漆器普遍变得罕见。然而,在中国北方,特别是在北魏平城年间(398-493),经历了一定程度的复苏。后来的北朝时期,文物发现再次急剧减少。平城墓葬中的漆器多用于祭品。许多漆可能是以前时代的产品,但也有一些是平城新制造的。在平城丧葬仪式中,漆器的使用方式新颖,装饰新颖,作为祭祀餐具在山西北部扎根。这种做法在其他地方是找不到的。平城独特的漆棺上绘有鲜卑人或中亚人的形象,大多带有云冈艺术风格的图案和图案。并以以人为主导的人物形象为基础,辅以装饰元素,对著名的司马金龙墓漆屏的可能起源进行了简要探讨。
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来源期刊
Early Medieval China
Early Medieval China ASIAN STUDIES-
CiteScore
0.30
自引率
0.00%
发文量
8
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