摘要
南薰殿旧藏宋帝坐像多为等身御容。本文从冠服制度出发,提炼南薰殿旧藏宋帝坐像冠服的等级特征;通过综合分析像主服饰、姿势以及御容画像与雕塑的关系,归纳宋帝坐像形制御容的三种图式,分别探讨不同图式御容所对应的奉安场所;最后,结合奉安场所的性质功能,讨论不同场所中神御图式的设计考量、礼仪空间及奉祀目的。
The life-sized seated portraits of Song emperors formerly housed in the Nanxun Hall represent formal imperial iconography.This study begins by analyzing the court dress hierarchy to identify three principal attire types:the tongtianguan ensemble(Type B),a mid-level ceremonial attire ranked below mianfu but above ordinary court robes;and two informal types,Type C2-1(light yellow)and Type C2-2(red),with the former holding slightly higher status.Type C2-1 depicts emperors in wide-sleeved light yellow robes and futou caps,hands concealed within sleeves.These images were enshrined in ancestral temples like Jingling Palace,where attire and setting emphasized Confucian ideals of filial piety.The ensemble recalls mourning garments worn by reigning emperors following the daxiang and danchu rites,symbolizing dynastic continuity and hierarchical order within the Song lineage.Type C2-2 presents emperors similarly attired but in red robes.This type is believed to have been created by Emperor Huizong for Tianzhang Pavilion,where ancestral portraits served as focal points for ritual veneration and ethical reflection,enabling rulers and officials to contemplate ancestral law and reaffirm political ethics.
作者
邹海萍
邱才桢
Zou Haiping;Qiu Caizhen
出处
《艺术设计研究》
北大核心
2025年第4期49-56,138,共9页
Art & Design Research
基金
国家社会科学基金后期资助项目《宋元书画史研究指南》(项目编号:17FYS027)的阶段性成果。
关键词
南薰殿宋帝坐像
冠服等级
祖宗祭祀
绘画与雕塑
御容图式设计
Imperial Seated Portraits in Nanxun Hall
Court Dress Hierarchy
Ancestor Worship
Pictorial-Sculptural Interplay
Design Intentions of Imperial Portrait Schemas
作者简介
邹海萍,清华大学美术学院博士研究生;通讯作者:邱才桢,清华大学美术学院副教授,博士。
