魏晋南北朝高士图中坐具的莲花纹饰特征和意义研究

目的研究魏晋南北朝高士图中的坐具形制和纹饰特征,探析其历史成因、演进过程和符号意义。方法以南京西善桥考古出土的《竹林七贤与荣启期》砖画这一魏晋南北朝时期高士图的代表作品为例,依据历史文献、石窟艺术、佛教文化等相关背景资料,剖析《竹林七贤与荣启期》砖画中坐具的纹饰特征和意义,并结合与此画有密切关联的唐代孙位所绘的《高逸图》中的坐具纹饰特征进行佐证。结论南朝《竹林七贤与荣启期》高士图中的坐具具有明显的莲花纹饰特征,反映了当时人们对魏晋高士的文化尊崇和"坐莲升仙"的精神寄托。这与当时盛行的人物品藻、佛教文化等具有内在的密切关联,莲花纹饰自此也成为后世摹本高士图中坐具的重要装饰纹样。

Analysis of the Decorative Features and Significance of Lotus in Seats Related to the Pictures of Lofty Scholars in the Wei, Jin, and Southern and Northern Dynasties

The work aims to study the shape and decoration characteristics of seats related to the pictures of lofty scholars and analyze the historical cause,evolution process and symbolic meaning.Taking the painting on bricks of tomb of Wei,Jin and Southern and Northern Dynasties as example,which was called "Seven Sages of Bamboo Groves and Rong Qiqi" excavated in Nanjing Xi Shan Qiao,the decorative features and significance of seats in this brick painting were analyzed based on the historical documents,grotto art,Buddhist culture and other related background information and then proved combined with the decorative features of sears in "Painting of Past-Masters" created by Sun Wei in the Tang Dynasty closely related to the brick painting.The seats in the painting of "Seven Sages of Bamboo Groves and Rong Qiqi" have obvious characteristics of lotus decoration and reflect the cultural reverence for the scholars in Wei and Jin Dynasties and the spiritual sustenance of "Sitting Lotus Ascending Fairy",which is closely related to the prevalence of person evaluation,Buddhist culture,etc.The lotus decorations begin to become the important decorative patterns of the seats of the paintings of lofty scholars in later generations.