【摘要】：旋子彩畫是明清三大彩畫體系之一,在官式建筑中被廣泛使用。長期以來,明清旋子彩畫是建筑考古領(lǐng)域的薄弱環(huán)節(jié),彩畫類型的斷代標(biāo)準(zhǔn)皆是依據(jù)專家所傳授的經(jīng)驗(yàn),其中難免加入個(gè)人的主觀經(jīng)驗(yàn),與實(shí)際產(chǎn)生或多或少的偏差。此外,當(dāng)今彩畫界對(duì)明代旋子彩畫的認(rèn)識(shí)多局限于從永樂至嘉靖時(shí)期,而之后百年間的演變卻鮮有人提及。此文運(yùn)用類型學(xué)研究方法,從明清皇家旋子彩畫做法上,提煉出有助于分期研究的三組共12個(gè)形制類型,結(jié)合相關(guān)文獻(xiàn),系統(tǒng)整理了29處旋子彩畫的實(shí)例。通過箍頭、旋眼、方心頭形制的演變關(guān)系,勾勒出旋子彩畫在五百余年間所經(jīng)歷的六個(gè)演變歷程,計(jì)為:明早期穩(wěn)定期、明早期轉(zhuǎn)變期、明中期至清初穩(wěn)定期、清早期轉(zhuǎn)變期、清中期穩(wěn)定期和清晚期定型期。最后,作者利用形制分期結(jié)論,并結(jié)合文獻(xiàn),對(duì)故宮慈寧宮及大佛堂、西頂娘娘廟旋子彩畫的年代問題加以分析。
[Abstract]:As one of the three major color painting systems in Ming and Qing dynasties, Xuan Zi color painting is widely used in official architecture. For a long time, the Ming and Qing Dynasty Xuan Zi color painting is the weak link in the field of architectural archaeology. The standard of color painting type is based on the experience imparted by experts, and it is inevitable to add personal subjective experience, which is more or less deviated from the actual situation. In addition, the current circle of color painting of the Ming Dynasty Xuan Zi color painting is limited to the period from Yongle to Jiajing period, but the evolution of the next hundred years has rarely been mentioned. Based on the typology research method, this paper abstracts three groups of 12 shape types which are helpful to the stage study from the practice of the Royal Zhanzi Color painting in Ming and Qing dynasties. In combination with the relevant literature, 29 examples of Xuan Zi Color painting are systematically sorted out. Through the evolution of the shape system of hoop head, rotating eye and square heart, the six evolvement processes experienced by the color painting of Xuan Zi in more than 500 years have been outlined. They are: the stable period of the early Ming Dynasty, the early transition period of the Ming Dynasty, the stable period from the middle Ming to the early Qing Dynasty, and the transition period of the early Qing Dynasty. The stable period of the middle Qing Dynasty and the final stage of the Qing Dynasty. Finally, the author analyzes the chronology of The Imperial Palace's Zining Palace, Dafatang and Xiding's Niangzi paintings by means of the figurative stage conclusion and the literature.
【作者單位】： 故宮博物院古建部;
【分類號(hào)】：K879.4

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本文編號(hào)：2147900