端门内檐彩画艺术初探*

A Brief Investigation about Art of Interior Polychrome Painting in Duanmen

摘要:

形成于清代的宝珠吉祥草彩画是官式建筑彩画类别之一，兼具满、蒙、藏民族文化艺术特色，仅装饰于清代皇宫城门与帝王陵墓建筑内。北京中轴线上的端门内檐彩画属于清代宝珠吉祥草存迹，独特的方心式布局，使其成为宝珠吉祥草彩画的一个特例。宝珠吉祥草元素的形成与角色转换，见证了中国古建装饰艺术多样化的创新历程。作者从端门内檐宝珠吉祥草彩画的结构布局、纹饰特征入手，将其与传统满、蒙宝珠吉祥草纹饰进行对比分析。于共性中寻找差异，梳理出宝珠吉祥草纹样演变脉络，剖析端门内檐彩画所蕴含的历史价值与艺术价值，论证了端门内檐宝珠吉祥草彩画的独特性与唯一性。

Abstract:

Formed in the Qing Dynasty, Baozhu auspicious grass color painting is one of the official architectural color painting categories, with Manchu, Mongolian, Tibetan cultural and artistic characteristics, only decorated in the Qing Dynasty Palace Gate and the imperial tomb buildings. The painting on the Zhongzhou Road inside the eaves of the Duanmen is a unique example of Baozhu auspicious grass painting in the Qing Dynasty. The formation and role transformation of the elements of the auspicious grass of the precious Pearl have witnessed the creative process of the diversification of Chinese ancient architectural and decorative art. Based on the structural layout and decorative features of the auspicious grass color painting of Baozhu in the eaves of Duanmen, the author compares it with the traditional Manchu and Mengbaozhu auspicious grass color painting. To find the differences in the commonness, comb out the evolution of auspicious grass patterns of Baozhu, analyze the historical and artistic value contained in the painting of Color on the eaves of Duanmen, and demonstrate the uniqueness and uniqueness of the painting of auspicious grass patterns of Baozhu on the eaves of Duanmen.