重读北齐娄叡墓壁画

Rethinking of Lou Rui’s Tomb Murals from the Northern Qi State

山西太原北齐娄叡墓壁画既是从北魏平城时代开始建立的一套新图像系统发展的结果,又是一组富有艺术个性的作品,对于探索美术考古研究与传统绘画史写作相融合的可能性与具体方法,有着重要价值。从其墓道特殊的结构可推定壁画的施工方法,建立起名家画稿与壁画之间的联系;从壁画风格还可窥见这一时期绘画“感神通灵”观念在艺术实践中的具体表现,进一步观察与理解佛教对中国中古艺术的影响。

Lou Rui’s(娄叡)tomb murals from the Northern Qi State(北齐),which were found in Taiyuan(太原),Shanxi Province(山西),were rooted in a new pictorial system that budded during the Pingcheng Period(平城,398-494)of the Northern Wei State(北魏),and they were charged with artistic peculiarity.These tomb murals are of important value to the exploration of the possibility and concrete methods of the integration of art archaeological studies with the writing of traditional painting history.From the special structure of the tomb passage,this paper constructs the murals’construction process and thus establishes the connection between the renowned artists’sketches and tomb murals.From the style of Lou Rui’s tomb murals,we can see the specific demonstration of the painting concept of“perceiving the divine and communicating with the spirit”(感神通灵)in Chinese art practice,and further observe and understand how Buddhism helped to shape Chinese medieval art.