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河南邓县学庄南朝墓出土的郭巨埋儿故事画像砖中,郭巨妻的形象衣饰华美,广袖罗带当风飞扬,与其他郭巨埋儿图像中的农家妇人形象差别较大。本文从这一特别的人物形象出发,追寻其服饰、姿态等特征的来源,并围绕以衣袖翻飞为标志的华服人物形象之流传,对人物形象的再利用情况进行探索。研究发现这一形象可能源自汉代乃至更早的舞人形象,因为服饰、文艺、宗教等多种因素带来的契机,在南北朝时期这一形象被广泛地作为仙人、天人、历史人物,甚至是现实人物之形象,在画像砖、石窟造像、壁画、屏风画乃至卷轴画等不同类型的图像中,被反复地加以利用。通过探索该形象在艺术史中被不断传模与改造的过程,了解一个被接受的人物形象如何被当作一种样式,从原有的语境中渐渐剥离,经过多次传移模写,运用于不一样的语境,并在不同的语境中获得新的意义。
The picture of Guo Ju buried in the Tomb of Guo dynasty at Dengxue County Zhuangzhuang in Henan shows the image of Guo Jughua’s dress as gorgeous and with wide sleeves as the wind blowing, Big. Starting from this particular figure, this article traces the origin of its costumes, stances and other characteristics. Based on the circulation of the Chinese clothing figure symbolized by the fleeing sleeves, this paper explores the re-use of characters. The study finds that this image may originate from the image of the dancer who was even earlier in the Han Dynasty. Because of the opportunities brought by many factors such as costumes, literature and art, religion and so on, in the Northern and Southern Dynasties, this image was widely used as a fairy, a man of heaven and a historical figure, Even the images of real people are repeatedly used in different types of images such as brick, grotto statues, murals, screen paintings and scroll drawings. By exploring the image of the image in the art history has been constantly mold and transformation process, to understand how an accepted character image is treated as a style, gradually stripped from the original context, after many transfer mode write, use In different contexts and gain new meaning in different contexts.