泸州宋墓石雕之于中国美术史的意义

The Significance of Lu-zhou's Stone Carvings in Song Tombs to Chinese Art History

论文旨在综合采用四重证据法(考古材料、古文献资料、史书材料、古代书画材料)和图像学研究方法,揭示泸州宋墓石刻之于中国美术史的建构意义和补史价值。一方面,通过对泸州宋墓石刻题材内容的概括分析,论述其在花鸟、番族、龙鱼等石雕方面的突出成就,探讨其与《宣和画谱》相一致的时代创新精神,堪称"地下的《宣和画谱》"。另一方面,从以诗意入雕的技术路线,透析泸州宋墓石刻"夺造化移精神之致"在于有诗人之思致,体现了宋代高雅文化和世俗文化生生不息的创造力。再一方面,剖析泸州出土的大量宋代"青龙"石雕之变化精美、雕刻如画,不但媲美"所翁龙",而且在宋代绝大多数画龙名家作品早已经失传的情况下,以出土石刻图像论证"龙鱼"画科在北宋末的确立及其绘画艺术的成就,弥补中国美术史的缺失。

This paper adopts the research methods of evidence(archaeological materials,ancient literatures,historical materials and ancient calligraphy and paintings) and iconology to reveal the significance of Lu-zhou's stone carvings in tombs of Song Dynasty to the construction of Chinese art history and its supplement to Chinese history. On one hand,there are outstanding achievements in its carving subjects,such as flowers,birds,Fan-zu(Fan nationality),and dragon-fish which can be regarded the underground counterpart of Xuan-he Hua-Pu(Genealogy of Paintings in Xuan-he Period) and their creative spirits are aligned with each other. On the other hand,the carving skills with poetic conception displayed the elegant culture and vigorous secular culture in Song Dynasty. Moreover,the delicate and vivid carvings of"Qing-long(Black dragon) "not only rival with"Suo-weng dragon",but also prove the establishment of the painting branch of"dragon-fish"at the end of Song Dynasty and its achievements with carving works to make a supplement in the history of Chinese art as most of the painting masterpieces in Song Dynasty have long been lost.