由壁上观至壁上思——以南里王村“树下美人图”为中心的考察

Centered on the Beautiful Figure under the Tree in Nanliwang Village

从南里王村唐代韦氏墓葬屏风画“树下美人图”的图式构成及其来源、作品在墓葬中的布局安排以及中西文化交流等方面的阐释和解读,可知“树下美人图”图式之源足可追溯至东汉时期的墓葬壁画。韦氏墓壁画的布局及其颇具写意性的绘画特征更合乎墓主并非位居最上等贵族的身份。而从新疆、西安再至日本,屏风画“树下美人图”一再出现,恰好印证了丝绸之路对于中西文化交融的强有力推动。细察这几幅“树下美人图”,在形制、材质、图式内容、绘画形式和主题表达上均有所不同。导致这不同的原因,既因其各有不同的绘制粉本作参照,但也充分说明图像会因时代、地域及观念的改变而各有侧重,甚至会出现重叠与交织现象。

This paper explains the pattern composition of the screen paintings of the WEI's tombs in the Tang Dynasty of Nanliwang village,the source of the pictures,the layout of the works in the tombs,and the cultural exchanges between China and the West,we can see that the source of the pattern can be traced back to the tomb murals of the Eastern Han Dynasty.The layout of the WEI's tombs murals and its rather freehand painting features are more in line with the identity of the nobles who are not among the top nobles.In addition,the screen painting Beautiful Figure under the Tree has repeatedly appeared in the locations from Xinjiang,Xi'an to Japan that just confirms the strong promotion of the Silk Road for the blending of Chinese and Western cultures.Taking a deeply look at these Beautiful Figure under the Tree paintings,they are different in terms of form,material,schema content,painting form and theme.The reason for the differences is not only because of their different drawing powders,but also result in the different images due to the changes of times,regions and concepts,and even the overlapping and interweaving of it will occur.