摘要
中国道教中的"八仙"指的是唐代以来逐渐形成的八位仙人,即钟离权、李铁拐、吕洞宾、张果老、蓝采和、韩湘子、曹国舅和何仙姑。他们出现早晚不一,外貌、特征前后出入较大。唐代,"八仙"中的个别人物始见于史籍,但语焉不详。宋代相关记载增多,内容更为具体。元代道教的盛行和戏曲文化的繁荣使得"八仙"越来越多地出现于各类文学艺术作品之中,呈现出某种固定的趋势。明代中期以后,八仙组合和特征基本固定,并作为喜闻乐见的装饰纹样出现于各类工艺品上。以往的研究中用明清时期对"八仙"的既定认识来考察宋元时期工艺品上的八仙图案,得出的结论往往存在较大的偏颇。本文梳理了元代瓷器上的八仙纹样,通过对比元明八仙戏及同时期墓葬壁画、砖雕、缂丝上的图像资料,论述了瓷器八仙纹饰之起承,并对其中存在的一些误区进行了辨析。
The "Eight Immortals"–usually known as Zhongli Quan,Li Tieguai,Lu Dongbin,Zhang Guolao,Lan Caihe,Han Xiangzi,Cao Guojiu and He Xiangu-refers to a group of Daoist immortals that first appear in Tang dynasty literature. Each is known for a unique physical appearance. Some of the Eight Immortals are brie y mentioned in Tang historical records. In the Song dynasty,related descriptions became abundant and more detailed. e popularity of Daoism and performing arts during the Yuan dynasty was accompanied with frequent representation of the Eight Immortals in literature and art. en from the mid Ming dynasty and onwards,the arrangement and images of the Eight Immortals became stylized and were used widely to decorate handicrafts. In previous researches,Eight Immortals images on Song and Yuan objects have been studied wrongly based on understanding about Ming and Qing Eight Immortals. e current author reviews Eight Immortals designs on Yuan dynasty porcelain and compares them with descriptions in Yuan and Ming dramas on this theme and related images in tomb mural paintings,brick reliefs and silk tapestry,so as to explore the origins of Eight Immortals as porcelain decoration. Misunderstanding is pointed out in this paper as well.
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2015年第10期45-60,共16页
Journal of National Museum of China
关键词
元代瓷器
八仙
杂剧
Yuan dynasty porcelain
Eight Immortals
poetic drama