摘要
在我国古代建筑脊饰中,鸱尾作为厌火辟邪的象征,常被用于象征权力和宗教的建筑之中,在中唐之前的鸱尾呈现出似鸟非鱼的特征,而在中唐之后逐渐演变成鱼形和兽形。在敦煌遗画建筑中的脊饰鸱尾大致分为凤鸟形鸱尾和鱼形吻鸱尾,这种特殊的鸱尾形象源头是摩竭鱼的变形,不仅具有功能性特征,还兼具装饰性和鉴赏性。笔者通过鸱尾形象特征和起源以及敦煌地区的独特艺术风格进行深入分析敦煌遗画建筑中凤鸟形鸱尾和鱼形吻鸱尾的特征及成因。鸱尾的形象经过不同时期和地区被赋予不同的象征内涵,成为一种代表权力和宗教的象征符号。
In the ridge decoration of ancient architecture in China,as a symbol of fire aversion and evil elimination,the Owl’s tail is often used to symbolize power and religion.Before the middle Tang Dynasty,the tail was like a bird but not a fish,but gradually evolved into a fish and a beast after the middle Tang Dynasty.In Dunhuang paintings,the ridge decoration tail can be roughly divided into bird shaped tail and fish shaped tail.The image is originated from the deformation of exhausted fish,which not only include functional characteristics,but also decoration and appreciation.Based on the characteristics of the tail and the unique artistic style of Dunhuang area,the author analyzes the causes of the tail of bird and fish in Dunhuang paintings.In different periods and regions,the image of the tail is endowed with different symbolic connotations and becomes a symbol of power and religion.
出处
《中外建筑》
2020年第6期38-40,共3页
Chinese & Overseas Architecture
基金
武汉理工大学自主创新研究基金项目,项目名称是《曹氏归义军时期敦煌遗画中供养人形象研究》,项目编号:205216004。
关键词
敦煌遗画
建筑
脊饰
鸱尾
Dunhuang paintings
building ridge
decoration
Owl’s tail
