摘要
流传于世的中国历代人物画中有对帝后名贤面容追记的肖像性"御容"和"影真"。肖像画传统独立发展,逐渐形成写实的绘画形式。如元刘贯道画《元世祖出猎图》,以及《元代后半身像》帝、后像,其中作为蒙古第一美人的彻伯尔皇后在不同时空中展现出摄人的光彩。那些与她一同潜藏在巍峨山川中的人像,也区别于山水点景人物,具有"御容"绘像般仪礼的光辉。这些画像中保留的古代服饰与织物细节也同样令人赞叹。本文以台北故宫博物院藏元代帝后肖像册为线索,结合元代出土墓葬服饰与织锦文物,解答肖像画中的服饰问题,并考据元代人物绘画中的相关服饰名物。
Among the preserved Chinese figure paintings,there are iconographic"royal images"and"shadow truth"for the remembrance of the faces of empresses and sages.The tradition of portrait gradually evolved independently into a realistic painting form.Just as Khubilai Khan Hunting painted by Liu Guandao and Bust Portraits of Yuan Dynasty Imperial Consort,Empress Chabi as the first beauty of Mongolia displays stunning brilliance in different time-spaces.Those figures hiding with her in the towering mountains and rivers are also different from landscape figures with"royal appearance"of ceremonial glory.The ancient dresses and the details of fabrics in these paintings are also astounding.This paper follows Bust Portraits of Yuan Dynasty Imperial Consorts in the collection of the Palace Museum of Taipei and,in combination with unearthed Yuan Dynasty dresses and brocade,answers questions related to dresses in the portraits and offers textual criticism of dress terminology related to Yuan Dynasty figure paintings.
作者
石钊钊
Shi Zhaozhao(Chinese Academy of Social Sciences)
出处
《湖南省博物馆馆刊》
2019年第1期77-84,共8页
Hunan Provincial Museum
关键词
元代后半身像
元世祖出猎图
姑姑冠
纳什失
海青
Bust Portraits of Yuan Dynasty Imperial Consorts
Khubilai Khan Hunting
Gugu crown(the tall decorated headwear)
Nasij
Hai-qing robe
