摘要
北魏中晚期盛行选择孝子画像作为墓葬图像刻画在葬具上,笔者认为,大孝子的选择与孝感故事的描绘肇源于北魏后宫围绕“子贵母死”进行的激烈权力斗争,而且是对这一历史事实最直接的图像体现。
The selection of paintings of filial sons as pictures painted on the coffins was a practice pervasive in the middle and late North Wei dynasty. This paper holds that the selection of the pictures of the most filial son started from the power struggle back in the royal courts of North Wei dynasty and was the most straightforward pictorial embodiment of the historical fact of “the glory of the son is the death of the mother.”
出处
《文艺研究》
CSSCI
北大核心
2006年第10期131-138,共8页
Literature & Art Studies