唐代前期敦煌莫高窟壁画中的鞋履形制研究
摘要
通过对莫高窟初唐第220窟、323窟、334窟、431窟和盛唐第103窟、130窟、445窟、45窟、217窟、148窟等10个洞窟壁画中出现的典型鞋履形制的研究,讨论和考证了上述壁画中鞋履形制的真实性,同时在服饰风格演变的基础上,阐述了其历史沿革。
本文第一部分对研究对象、研究术语、研究现状、研究目的和意义及研究方法等依次作了说明。表明对唐代前期莫高窟壁画中出现的鞋履形制进行研究,可以在前人没有涉及或是涉及得不够深入的研究领域得到更好的发挥,并且通过分析、考证壁画中鞋履形制的真实性、多样性,追溯其源流,可以更加充分地了解我国的服饰文化。
本文第二部分对唐代前期莫高窟壁画中出现的“重台履”、“丛头履”、“小头履”、“分梢履”、“云头履”等5种高头鞋履的形制进行了研究,探寻其源流,并与唐、五代时期的其他形象资料作比较,考证了其真实性。上述5种高头鞋履在当时都是比较常见的鞋履形制。
本文第三部分对唐代前期莫高窟壁画中出现的“乌皮靴”进行了研究,在追溯其发展演变的基础上与唐代其他形象资料作比较,考证了其真实性。乌皮靴在唐代盛行,不论贵贱均可穿著,在敦煌壁画中有大量反映。
本文第四部分对“草鞋”和“麻鞋”进行了研究,在阐述其历史
Through a careful study of the typical shoe shapes that appear in the frescoes of 10 caves in Mogaoku, Dunhuang, namely, Cave 220, 323, 334, 431 of the Early Tang Dynasty and Cave 103, 130, 445, 45, 217 and 148 of the Prime-Tang Dynasty, this paper makes a textual study on and tries to prove the authenticity of the above mentioned shoe shapes and meanwhile it expounds their historical developments, on the analysis of the evolvement of shoe shapes.The first part successively illustrates the subjects, technical terms, present situation, purpose and significance of the study and the approaches to carrying it out. It shows that the study of the shoe shapes of the Early Tang Dynasty seen in the frescoes of Mogaoku can reach the areas that our predecessors never set foot in or else it can get better displayed in areas our predecessors did not dug deep enough. And it points out that through the analysis of and the textual study on the authenticity and diversity of the shapes of shoes in the frescoes of Mogaoku and by tracing their original sources, we can have a better understanding of the costume culture of our nation.The second part makes a study on the shapes of five high-headed
shoes of the Pre-Tang Dynasty seen in the frescoes of Mogaoku, such as "Zhongtailv" "Congtoulv" "Xiaotoulv" , "Fenshaolv" , and"Yuntoulv",traces their origins, makes a comparative study of the materials of other shapes and proves their authenticity. The above mentioned five high-headed shoes were quite commonly seen at that time.The third part makes a study of "Wupixue" which appear in the frescoes of the Pre-Tang Dynasty and on the basis of the exploration of its development and evolution, it compares this kind of shoes with other shoe shapes in Tang Dynasty, and proves its authenticity."Wupixue" were all the fashion in the Tang Dynasty, and everybody wore them, be they rich or poor. This is largely reflected in the frescoes of Dunhuang.The fourth part of this paper makes a study of "Caoxie" and "Maxie". While exploring their historic development, it compares them with other shoe shapes of the Tang Dynasty, has proved their authenticity. Furthermore, it makes some exploration of their concrete materials.The fifth part constitutes the conclusion. By studying the eight comparatively typical shoe shapes, the author holds the viewpoint that they were the shoe shapes that were really in existence at that time. The shoe shapes of the Early Tang Dynasty that appear in Mogaoku, Dunhuang were the miniature of the social morel and costume culture then. The frescoes, as picture material, can make up for the deficiency of
literary accounts. From the differences of shoe shapes shown in the frescoes of the Pre-Tang Dynasty, we are able to tell the great contrast between people of different social status. Aside from this, it is much more difficult to figure out the materials of the shoes than analyze their shapes from the frescoes. But on the basis of literary document we can exercise a comprehensive analysis and make a general deduction according to the identities of the figures or characters and the settings they are in, as can be seen in the frescoes.
本文第一部分对研究对象、研究术语、研究现状、研究目的和意义及研究方法等依次作了说明。表明对唐代前期莫高窟壁画中出现的鞋履形制进行研究,可以在前人没有涉及或是涉及得不够深入的研究领域得到更好的发挥,并且通过分析、考证壁画中鞋履形制的真实性、多样性,追溯其源流,可以更加充分地了解我国的服饰文化。
本文第二部分对唐代前期莫高窟壁画中出现的“重台履”、“丛头履”、“小头履”、“分梢履”、“云头履”等5种高头鞋履的形制进行了研究,探寻其源流,并与唐、五代时期的其他形象资料作比较,考证了其真实性。上述5种高头鞋履在当时都是比较常见的鞋履形制。
本文第三部分对唐代前期莫高窟壁画中出现的“乌皮靴”进行了研究,在追溯其发展演变的基础上与唐代其他形象资料作比较,考证了其真实性。乌皮靴在唐代盛行,不论贵贱均可穿著,在敦煌壁画中有大量反映。
本文第四部分对“草鞋”和“麻鞋”进行了研究,在阐述其历史
Through a careful study of the typical shoe shapes that appear in the frescoes of 10 caves in Mogaoku, Dunhuang, namely, Cave 220, 323, 334, 431 of the Early Tang Dynasty and Cave 103, 130, 445, 45, 217 and 148 of the Prime-Tang Dynasty, this paper makes a textual study on and tries to prove the authenticity of the above mentioned shoe shapes and meanwhile it expounds their historical developments, on the analysis of the evolvement of shoe shapes.The first part successively illustrates the subjects, technical terms, present situation, purpose and significance of the study and the approaches to carrying it out. It shows that the study of the shoe shapes of the Early Tang Dynasty seen in the frescoes of Mogaoku can reach the areas that our predecessors never set foot in or else it can get better displayed in areas our predecessors did not dug deep enough. And it points out that through the analysis of and the textual study on the authenticity and diversity of the shapes of shoes in the frescoes of Mogaoku and by tracing their original sources, we can have a better understanding of the costume culture of our nation.The second part makes a study on the shapes of five high-headed
shoes of the Pre-Tang Dynasty seen in the frescoes of Mogaoku, such as "Zhongtailv" "Congtoulv" "Xiaotoulv" , "Fenshaolv" , and"Yuntoulv",traces their origins, makes a comparative study of the materials of other shapes and proves their authenticity. The above mentioned five high-headed shoes were quite commonly seen at that time.The third part makes a study of "Wupixue" which appear in the frescoes of the Pre-Tang Dynasty and on the basis of the exploration of its development and evolution, it compares this kind of shoes with other shoe shapes in Tang Dynasty, and proves its authenticity."Wupixue" were all the fashion in the Tang Dynasty, and everybody wore them, be they rich or poor. This is largely reflected in the frescoes of Dunhuang.The fourth part of this paper makes a study of "Caoxie" and "Maxie". While exploring their historic development, it compares them with other shoe shapes of the Tang Dynasty, has proved their authenticity. Furthermore, it makes some exploration of their concrete materials.The fifth part constitutes the conclusion. By studying the eight comparatively typical shoe shapes, the author holds the viewpoint that they were the shoe shapes that were really in existence at that time. The shoe shapes of the Early Tang Dynasty that appear in Mogaoku, Dunhuang were the miniature of the social morel and costume culture then. The frescoes, as picture material, can make up for the deficiency of
literary accounts. From the differences of shoe shapes shown in the frescoes of the Pre-Tang Dynasty, we are able to tell the great contrast between people of different social status. Aside from this, it is much more difficult to figure out the materials of the shoes than analyze their shapes from the frescoes. But on the basis of literary document we can exercise a comprehensive analysis and make a general deduction according to the identities of the figures or characters and the settings they are in, as can be seen in the frescoes.
引文
[1] 陈琛,唐代前期敦煌莫高窟壁画中俗人的鞋履形制研究,敦煌研究,2005年,第3期:P45～49
[2] 王仲纯,从敦煌服饰管窥唐代文化,社科纵横,1994年,第4期:P9～11
[3] 苏莹辉,敦煌壁画供养者像举隅——隋迄元代服饰史料简介,故宫文物月刊,1985年,第28期:P13～24
[4] 孙机,唐代妇女的服装与化妆,文物,1984年,第4期:P57～69
[5] 湖北省宜昌地区文物工作队,当阳金家山九号春秋楚墓,文物,1982年,第4期:P41～46
[6] 杨希义,胡麻考,中国农史,1995年,第14卷,第1期:P96～101
[1] 沈从文,中国古代服饰研究,上海:上海书店出版社,2005
[2] 吴山,中国工艺美术大辞典,南京:江苏美术出版社,1999
[3] 叶大兵,钱金波,中国鞋履文化大辞典,上海:上海三联书店,2001
[4] 季羡林,敦煌学大辞典,上海:上海辞书出版社,1998
[5] 荣新江,敦煌学十八讲,北京:北京大学出版社,2001年
[6] 敦煌文物研究所,中国石窟·敦煌莫高窟,北京:文物出版社,1982
[7] 敦煌研究院,李其琼临摹敦煌壁画集,上海:上海古籍出版社,2004
[8] 段文杰,敦煌研究院,江苏美术出版社,敦煌石窟艺术:莫高窟第一五八窟(中唐),南京:江苏美术出版社,1998
[9] 谭蝉雪,敦煌研究院,敦煌石窟全集·民俗画卷,上海:上海人民出版社,2001
[10] 敦煌研究院,中国石窟·安西榆林窟,北京:文物出版社,1997
[11] 段文杰,中国敦煌壁画全集编辑委员会,中国敦煌壁画全集·晚唐卷,天津:天津人民美术出版社,2002
[12] 段文杰,敦煌研究院,江苏美术出版社,敦煌石窟艺术:榆林窟第二五窟附 第一五窟(中唐),南京:江苏美术出版社,1997
[13] 王卫明,大圣慈寺画史丛考:唐、五代、宋时期西蜀佛教美术发展探源,北京:文化艺术出版社,2005
[14] 周天游,章怀太子墓壁画,北京:文物出版社,2002
[15] 周天游,新城、房陵、永泰公主墓壁画,北京:文物出版社,2002
[16] 李淞,汉代人物雕刻艺术,长沙:湖南美术出版社,2001
[17] 高春明,中国织绣服饰全集·历代服饰卷,天津:天津人民美术出版社,2004
[18] 黄能馥,陈娟娟,中华历代服饰艺术,北京:中国旅游出版社,1999
[19] 黄能馥,陈娟娟,服饰志,上海:上海人民出版社,1998
[20] 高春明,中国服饰名物考,上海:上海文化出版社,2001
[21] 周汛,高春明,中国历代妇女妆饰,上海,香港:学林出版社,1997
[22] 李肖冰,中国西域民族服饰研究,乌鲁木齐:新疆人民出版社,1995
[23] (美)劳费尔,林筱因译,中国伊朗编,北京:商务印书馆,1964
[24] 吴存浩,中国农业史,北京:警官教育出版社,1996
[25] 万经中,周祥椿,亚麻栽培与加工,北京:中国农业出版社,1998
[26] 吴玉贵,中国风俗通史·隋唐五代卷,上海:上海文艺出版社,2001
[27] 王维堤,《衣冠古国》,上海:上海古籍出版社,1991
[28] 缪良云,《中国衣经》,上海:上海文化出版社,2000
[1] 段文杰,敦煌壁画概述,见,段文杰敦煌艺术论文集,兰州:甘肃人民出版社,1994,P42～63
[2] 段文杰,唐代前期的莫高窟艺术,见,段文杰敦煌艺术论文集,兰州:甘肃人民出版社,1994,P168～195
[3] 段文杰,敦煌壁画中的衣冠服饰,见,段文杰敦煌艺术论文集,兰州:甘肃人民出版社,1994,P250～272
[4] 段文杰,莫高窟唐代艺术中的服饰,见,段文杰敦煌艺术论文集,兰州:甘肃人民出版社,1994,P273～317
[5] 孙机,两唐书舆(车)服志校释稿,见,中国古舆服论丛,北京,文物出版 社,2001,P337～440
刘玉峰,唐代商品性农业的发展和农产品的商品化,中国经济史论坛,www.guoxue.com
[2] 王仲纯,从敦煌服饰管窥唐代文化,社科纵横,1994年,第4期:P9～11
[3] 苏莹辉,敦煌壁画供养者像举隅——隋迄元代服饰史料简介,故宫文物月刊,1985年,第28期:P13～24
[4] 孙机,唐代妇女的服装与化妆,文物,1984年,第4期:P57～69
[5] 湖北省宜昌地区文物工作队,当阳金家山九号春秋楚墓,文物,1982年,第4期:P41～46
[6] 杨希义,胡麻考,中国农史,1995年,第14卷,第1期:P96～101
[1] 沈从文,中国古代服饰研究,上海:上海书店出版社,2005
[2] 吴山,中国工艺美术大辞典,南京:江苏美术出版社,1999
[3] 叶大兵,钱金波,中国鞋履文化大辞典,上海:上海三联书店,2001
[4] 季羡林,敦煌学大辞典,上海:上海辞书出版社,1998
[5] 荣新江,敦煌学十八讲,北京:北京大学出版社,2001年
[6] 敦煌文物研究所,中国石窟·敦煌莫高窟,北京:文物出版社,1982
[7] 敦煌研究院,李其琼临摹敦煌壁画集,上海:上海古籍出版社,2004
[8] 段文杰,敦煌研究院,江苏美术出版社,敦煌石窟艺术:莫高窟第一五八窟(中唐),南京:江苏美术出版社,1998
[9] 谭蝉雪,敦煌研究院,敦煌石窟全集·民俗画卷,上海:上海人民出版社,2001
[10] 敦煌研究院,中国石窟·安西榆林窟,北京:文物出版社,1997
[11] 段文杰,中国敦煌壁画全集编辑委员会,中国敦煌壁画全集·晚唐卷,天津:天津人民美术出版社,2002
[12] 段文杰,敦煌研究院,江苏美术出版社,敦煌石窟艺术:榆林窟第二五窟附 第一五窟(中唐),南京:江苏美术出版社,1997
[13] 王卫明,大圣慈寺画史丛考:唐、五代、宋时期西蜀佛教美术发展探源,北京:文化艺术出版社,2005
[14] 周天游,章怀太子墓壁画,北京:文物出版社,2002
[15] 周天游,新城、房陵、永泰公主墓壁画,北京:文物出版社,2002
[16] 李淞,汉代人物雕刻艺术,长沙:湖南美术出版社,2001
[17] 高春明,中国织绣服饰全集·历代服饰卷,天津:天津人民美术出版社,2004
[18] 黄能馥,陈娟娟,中华历代服饰艺术,北京:中国旅游出版社,1999
[19] 黄能馥,陈娟娟,服饰志,上海:上海人民出版社,1998
[20] 高春明,中国服饰名物考,上海:上海文化出版社,2001
[21] 周汛,高春明,中国历代妇女妆饰,上海,香港:学林出版社,1997
[22] 李肖冰,中国西域民族服饰研究,乌鲁木齐:新疆人民出版社,1995
[23] (美)劳费尔,林筱因译,中国伊朗编,北京:商务印书馆,1964
[24] 吴存浩,中国农业史,北京:警官教育出版社,1996
[25] 万经中,周祥椿,亚麻栽培与加工,北京:中国农业出版社,1998
[26] 吴玉贵,中国风俗通史·隋唐五代卷,上海:上海文艺出版社,2001
[27] 王维堤,《衣冠古国》,上海:上海古籍出版社,1991
[28] 缪良云,《中国衣经》,上海:上海文化出版社,2000
[1] 段文杰,敦煌壁画概述,见,段文杰敦煌艺术论文集,兰州:甘肃人民出版社,1994,P42～63
[2] 段文杰,唐代前期的莫高窟艺术,见,段文杰敦煌艺术论文集,兰州:甘肃人民出版社,1994,P168～195
[3] 段文杰,敦煌壁画中的衣冠服饰,见,段文杰敦煌艺术论文集,兰州:甘肃人民出版社,1994,P250～272
[4] 段文杰,莫高窟唐代艺术中的服饰,见,段文杰敦煌艺术论文集,兰州:甘肃人民出版社,1994,P273～317
[5] 孙机,两唐书舆(车)服志校释稿,见,中国古舆服论丛,北京,文物出版 社,2001,P337～440
刘玉峰,唐代商品性农业的发展和农产品的商品化,中国经济史论坛,www.guoxue.com