哲学社会科学版
陕西师范大学学报(哲学社会科学版)
艺术研究
试论“三段式神像镜”的图像结构与主题
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李凇
(北京大学 艺术学院, 北京 100871)
李凇,本名李松,湖北荆州人,艺术学博士,北京大学艺术学院教授,博士生导师,西安美术学院兼职教授,博士生导师。
摘要:
汉代出现的一种特殊画像镜(三段式神像镜)的主神是女像,既不是天皇,也不是道教的偶像老子,而是与生育相关的女神,或为女娲。三段式的图像结构分别对应于天地秩序、神仙、古代圣贤,可视作铜镜的使用者们(妇女)对生命的核心期待:决定她们一生幸福的关键点——嫁人、生育、长生不老。
关键词:
汉代艺术; 铜镜; 图像学; 三段式神像镜
收稿日期:
2011-02-15
中图分类号:
J222
文献标识码:
A
文章编号:
1672-4283(2011)06-0120-06
基金项目:
西安美术学院科学研究基金项目(2010)
Doi:
A Tentative Discussion on the Graphic Structure and Theme of the “Threephase Goddess Portrait Mirror”
LI Song
(School of Art, Beijing University, Beijing 100871)
Abstract:
A special portrait mirror, “threephase goddess portrait mirror”, appeared in the Han Dynasty. The portrait in the mirror was not the Heavenly Emperor nor Laozi, the idol of Taoism, but a goddess, who was said to be concerned with babybirth, or more exactly Nue Wa, a creation goddess in Chinese mythology. The structure of the portrait in the mirror consisted of three phases, respectively corresponding to the order of the world, the deities and the sages in ancient times, which could be regarded as the key concern of mirror users. In other words, these images represented the crucial points of life happiness of Chinese women, that is, marriage, birthgiving and longevity.
KeyWords:
art in the Han Dynasty; bronze mirror; iconology; the Threephase Goddess Portrait Mirror