本期编辑/开鸿顺
KaiHongShun Studio
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屏风，在中国装饰史里一直扮演了“客串”的角色，其背后衬托的却是皇权的威仪、士大夫与文人雅士的精神寄托；当时屏风的兴衰伴随着君民意识政治转绎，是唐宋时期特有的皇权帝训或士大夫家训鉴戒的体现和“修身、齐家、治国”的思想载体。
Screens have always played the role of "guest actors" in the history of Chinese decoration, but behind them are the majesty of imperial power, the spiritual sustenance of literati and scholars; At that time, the rise and fall of the screen was accompanied by the political transformation of the consciousness of the monarch and the people.
“六曲连环接翠帷，高楼半夜酒醒时。掩灯遮雾密如此，雨落月明俱不知。”——唐·李商隐《屏风》。
"Six tunes are linked to the green curtain. When the tall building wakes up in the middle of the night, it is so dense to cover the fog with the lamp. The rain falls and the moon shines." - Tang Li Shangyin, Screen.
早期的屏风，实用性弱，多用于体现身份和地位。到了宋代,屏风成为一代画师泼墨丹青的重要素材，是千百年来文人墨客传情达意的一种载体。宋之屏风中蕴含的知识与文化，足以体现当时时代社会文化、社会追求所在。
Early screens, which are weak in practicability, are mostly used to reflect identity and status. In the Song Dynasty, the screen became an important material for a generation of painters to splash ink and paint, and was a carrier for literati to convey their feelings and ideas for thousands of years.
屏风，就其源头可追随至西周时期。那时，人们惯于称其为“邸”、“扆”,是古代天子座后之屏障，也被称作“扆座”，常常“以凤皇羽饰之”，屏风作为皇权的象征，是周天子专用器具。
Screen, as far as its source is concerned, can be traced back to the Western Zhou Dynasty. At that time, people used to call it "Di" and "Pi", which were the barrier behind the ancient Tianzi, also known as "Pi", and often "decorated with phoenix feathers". The screen, as a symbol of imperial power, was a special instrument for the Emperor of Zhou.
发展至周代末年，礼乐制度受到冲击，社会上的名流显贵为彰显其地位之尊贵，也纷纷僭越礼制效仿起来，致使屏风文化大范围流行。据太史公司马迁的《史记·孟尝君列传》记载，“孟尝君侍客坐语，而屏风后常有待史，主记君所与客语”。
At the end of the Zhou Dynasty, the system of rites and music was impacted. In order to show the dignity of their status, celebrities and dignitaries in the society also violated the system of rites and imitated it, resulting in the widespread popularity of screen culture.
便可看出战国时期屏风使用率已经达到一定水平。走进了王公贵族之家，我国考古工作者曾于湖北江陵拍马山楚墓出土长1.85米、宽0.49m米、厚0.22米的透雕髹漆板也能够证明屏风的使用范围有所扩大。
It can be seen that the screen utilization rate has reached a certain level during the Warring States Period. After entering the house of princes and nobles, Chinese archaeologists once unearthed the openwork painted panels 1.85 meters long, 0.49 meters wide and 0.22 meters thick from the Chu Tomb of Mount Ma in Jiangling, Hubei Province, which can also prove that the use of screens has expanded.
在此时，屏风作为一种装饰用具，其文化内涵和象征意义远远大于本身在空间布局上所具有的隔断和分割的实用功能。
At this time, as a decorative tool, the screen's cultural connotation and symbolic significance are far greater than its practical function of partition and division in the space layout.
随着社会的进步，中华文明不断繁衍生息，匠人们逐渐创造出了更为精妙的技艺与样式。唐代已经有了云鹤花鸟等题材的屏风画，盛唐时期还出现了以莫高窟屏风画为代表的石窟屏风画。无论在工艺与题材上都有了相当大的进展。
With the progress of society, Chinese civilization has continued to multiply and flourish, and craftsmen have gradually created more sophisticated techniques and patterns. In the Tang Dynasty, there have been screen paintings of clouds, cranes, flowers and birds and other subjects...
宋代一向以风雅著称。宋时期，我国文化与精神文明发展更达到了新的高峰。屏风也成为了文雅之象征。
The Song Dynasty has always been famous for its elegance. During the Song Dynasty, China's cultural and spiritual civilization reached a new peak. The screen has also become a symbol of elegance.
宋代是我国古代文化发展史、装饰发展史的重要时期。漫长的历史岁月中，人们逐渐经历了从一千多年的席地而坐向垂足而坐的转变，以桌椅为主的高型家具开始普及流行。在这一时期，屏风的定位也发生了变化，变得更加普及，种类更加丰富。屏风画与屏座的发展也走向完备。
The Song Dynasty is an important period in the development history of ancient Chinese culture and decoration. Over the long history, people have gradually experienced the transition from sitting on the ground for more than a thousand years to sitting on foot, and the high-type furniture, mainly tables and chairs, has become popular...
屏风造型和结构受建筑的梁柱式框架结构影响，以屏风为家具背景，其形制更加丰富且多样，以低矮底座的宽大独扇屏风为主，在材料上，以石材装饰点缀得到空前的发展；在题材上，画屏大量出现于宫廷，山水画屏逐渐成为主流，在文人雅士的介入，屏风逐渐走到了普通人家中。
The shape and structure of the screen are affected by the beam-column frame structure of the building. With the screen as the furniture background, its shape is more rich and diverse. It is mainly a large single-fan screen with a low base. In terms of materials, it has achieved unprecedented development with stone decoration.
在我国数千年的发展史中，屏风的形式、功能不断更迭。宋代不仅是我国家具由席地而坐转向高足式的转折点，更是我国山水画发展的全盛时期。山水与屏风的完美结合使得山水屏风成为宋人中最受欢迎的屏风之一。宋代文化与经济的发展，让山水屏风进入了一个全新的阶段，山水屏风也得以打破阶级，走进广大百姓的家中。
In the development history of thousands of years in China, the forms and functions of screens have changed constantly. The Song Dynasty was not only the turning point of China's furniture from sitting on the floor to high-foot style, but also the heyday of China's landscape painting development...
山水屏风在宋代的使用率得到了直线上升。屏风中，多追求质朴、文雅，故而宋代屏风多以端庄简洁为美，屏风画的素材也多以绮丽美好的自然景观为主。
The utilization rate of landscape screens in the Song Dynasty has risen sharply. In screens, people often pursue simplicity and elegance. Therefore, screens in the Song Dynasty were mostly dignified and concise, and the materials of screen paintings were mainly beautiful and beautiful natural landscapes.
宋代随着文人画的发展，山水画的创作进入了黄金时代。山水屏风占据了全部屏风种类的大半部分，尤其是水墨山水屏风，其不施色彩，追求文人的平淡与雅致。
With the development of literati painting in the Song Dynasty, the creation of landscape painting entered a golden age. Landscape screens account for most of all screen types, especially ink landscape screens, which do not apply color and pursue the simplicity and elegance of literati.
北宋著名诗人王安石曾在《汀沙》一诗中提到：“归去北人多忆此，每家图画有屏风。”由此可见从前知识文人书房中可见的山水屏风，届时走入了每个普通人的家中，走进了各个场合。
Wang Anshi, a famous poet in the Northern Song Dynasty, once said in the poem "Tingsha": "Most people who return to the North recall this place, and every picture has a screen." This shows that the landscape screen seen in the study of intellectuals in the past, then walked into every ordinary person's home and every occasion.
自宋代开始，出现了诗、书、画三者结合的艺术形式，越来越多的画家、诗人以及书法家开始在屏风上题诗，让三种艺术形式进一步交融，极大的提升了屏风作为一种文化载体的艺术赏析价值。
Since the Song Dynasty, there has been an art form combining poetry, calligraphy and painting. More and more painters, poets and calligraphers have begun to inscribe poems on the screen, further blending the three art forms, and greatly improving the artistic appreciation value of the screen as a cultural carrier.
宋代大文豪苏东坡在官场被贬左迁后，便在家中玉堂屏风上写了几首词，其中的“弄潮儿向涛头立，手把红旗旗不湿。”便成了流传至今的千古名句。北宋时期著名文学家黄庭坚也曾经写过“客来唯语谁与同，令人熟寐触屏风。”这等佳句流芳百世。
Su Dongpo, a great writer of the Song Dynasty, wrote several words on the screen of the jade hall in his home after he was demoted to the left in the officialdom. Among them, "the tide rider stands up to the top of the waves, and the red flag is not wet in his hands." has become a famous sentence from ancient times...
诗、书、画与屏风的结合，让屏风作为艺术形式与文化载体更具有深刻的内涵与精神特质。在宋代，屏风不再仅仅作为装饰与隔断的工具，更成为了一种带有文化渲染能力的艺术产物，一种书画艺术作品的载体，同时也是室内装饰的重要组成部分。宋代文化、工艺以及审美的发展让屏风艺术走向一个新的巅峰，形成了不同于其他时代的独特风格。
The combination of poetry, calligraphy, painting and screen makes the screen, as an art form and cultural carrier, more profound connotation and spiritual characteristics. In the Song Dynasty, screen was no longer only a tool for decoration and partition, but also an artistic product with cultural rendering ability.
屏风类型的发展是宋代所处的时代背景和民俗文化的产物。宋代的屏风也和宋人独具的风貌一样，充盈着内敛与含蓄、简单且秀美的文人情怀。宋朝历代帝王注重科举制度，优待才能志士，社会也愈发重视文化发展，百姓以读书好学为尚，社会风气趋向文人化。宋代文人们雅致的生活直接推动了宋代审美艺术表达的方式，提升了宋代整个社会的审美与品味。
The development of screen type is the product of the era background and folk culture of the Song Dynasty. The screens of the Song Dynasty, like the unique style of the people of the Song Dynasty, are filled with the literati feelings of being introverted and implicit, simple and beautiful.
在屏风的分类上，宋的山水屏风大致可以分为枕屏、地屏风、灯屏、梳头屏风、砚屏等等。枕屏多用于床榻之上，体积较小，而地屏风体积普遍较大，有座屏和落地屏风之分。座屏又可分为独扇和多扇屏风。落地屏风即软屏风，多则二到四扇，少则六到八扇，十分轻便。其他几种类型，包括灯屏、梳头屏风、砚屏等通常为观赏型屏风，使用率与实用性皆不如座屏与枕屏。
In terms of screen classification, the landscape screen of Song Dynasty can be roughly divided into pillow screen, floor screen, lamp screen, comb screen, inkstone screen and so on. Pillow screen is mostly used on the bed, and its volume is small, while floor screen is generally large, which can be divided into seat screen and floor screen. The seat screen can be divided into single and multiple screens.
屏风最早于西周时期出现时，便体现出了其内涵的尊卑地位等级制度。在宋代，屏风的摆放与使用也大有学问。
When the screen first appeared in the Western Zhou Dynasty, it reflected its connotation of the hierarchical system of superior and inferior status. In the Song Dynasty, the placement and use of screens were also learned.
在房屋中，中间的位置，常常会设立屏风，在屏风前放置主位的座椅。两边放置对称的摆放桌椅，主人坐于中间，客人落座在两侧。围绕着屏风形成的主客关系也体现着宋代礼仪上的主客文化。同样的主客关系也体现在城市布局和屋舍的分布等等方面。
In the middle of a house, a screen is often set up, and the main seat is placed in front of the screen. Symmetrical tables and chairs are placed on both sides. The host sits in the middle and the guests sit on both sides. The relationship between subject and object formed around the screen also reflects the subject and object culture in the etiquette of the Song Dynasty.
宋代的许多著名屏风中，凭借其内容也能表现出不同的礼仪功能，比如北宋时期的李公麟的《孝经图》，在形制上属于三折式屏风，通常摆放于人们身后，其描绘了孝义先贤的典范。而南宋陆信忠的十扇屏风《十王图》则通常摆放于座椅背后，其描绘的则是人去世后前往阴间地府中，十个威严凌厉的阴间魔王对生前作恶多端之人审讯判刑的场景。
Many famous screens in the Song Dynasty can also show different ceremonial functions by virtue of their contents. For example, Li Gonglin's "Filial Piety Map" in the Northern Song Dynasty is a three-fold screen in shape, usually placed behind people, which depicts the model of filial piety.
在当时，也有许多人会因为遮蔽气流和风寒或是遮挡视线而选择将屏风摆放在厅堂门口，因为其充当着保护隐私和阻挡视线的作用，高大且又沉稳的座屏便成为了首选。
At that time, many people would choose to put screens at the entrance of the hall because of shielding the air flow and the cold wind or blocking the view. Because of its role in protecting privacy and blocking the view, the tall and stable seat screen became the first choice.
屏风——可移动的墙
屏风在宋代的许多大型场所也充当着规划空间结构的作用。随着制作屏风的木制材料与雕刻工艺的不断精进，自由可拆卸的木制构件取代了传统的以帷帐分割空间的方式。由于其本身具有可移动性，足够应用于各种宴会场合，也能够满足生活起居等等多种需求。屏风能够在室内外，快速地将有限的空间临时分配，临时搭建一个供人使用的新空间。
Screens also played a role in planning spatial structures in many large places in the Song Dynasty. With the continuous improvement of the wooden materials and carving technology for making screens, the traditional way of dividing space with curtains has been replaced by freely removable wooden components.
另外，屏风的使用，在风水学上还有着一定的学问。屏风的隔断作用可以随着摆放位置的不同有着不同的功能，比如，聚气生财等等，这些抽象含义与宋代民俗文化和商业发展和娱乐休闲产业的发展历程，有着密不可分的关系。
In addition, the use of screens has some knowledge in feng shui. The partition function of the screen can have different functions according to the location, such as gathering gas to make money, etc. These abstract meanings are closely related to the development of folk culture and commerce and the development of entertainment and leisure industry in the Song Dynasty.
在宋代，特定的屏风通常也用于组织特定的场合，例如著名文人何筌的《草堂客话图》一般用于组织休闲空间，多位于厅堂。宋代名士牟益的《捣衣图》用于组织劳动空间，且多放置于凉亭。北宋年间李公麟的《商山四皓会昌九老图》，一般用于组织人们的生活空间，也多位于厅堂之中。
In the Song Dynasty, specific screens were often used to organize specific occasions. For example, the "Courtyard Guest Talk Map" by the famous scholar He Quan was generally used to organize leisure space, mostly in the halls. The Painting of Tamping Clothes by Mou Yi, a famous scholar in the Song Dynasty, is used to organize labor space and is mostly placed in the pavilion.
由此可见，屏风的题材各有不同，他们都能够在社会空间之中起到一定的规划与间隔作用。在大型活动中为人们提供一种隐性的界限，也在文人士大夫中行成一种规范和限制。
It can be seen that the themes of screens are different, and they can all play a certain role in planning and spacing in social space. It provides a hidden boundary for people in large-scale activities, and also acts as a norm and restriction among intellectuals and doctors.
屏风作为中华文化的载体，不仅承载着中华民族数千年的文化精髓，更是中华民族匠人精神和文雅情致的体现。中华民族上下五千年的文化传承，离不开人们口口相传的思想烙印和民俗风貌，离不开古人智慧凝结而成的诗书典籍，更离不开文物和实体带给我们切实的体会和震撼。
As the carrier of Chinese culture, screens not only carry the cultural essence of the Chinese nation for thousands of years, but also embody the spirit and elegance of Chinese craftsmen. The cultural heritage of the Chinese nation for five thousand years can not be separated from the ideological imprint and folk customs handed down by people from mouth to mouth.
屏风是我国复合质文物的代表，不仅是我国传统建筑空间中一件经久不衰的实用家具，更浓缩了我国传统文化和传统美学，其形式和功能的不断更迭，象征着我国传统文化发展的历程之波澜壮阔，生生不息。
Screen is the representative of China's composite cultural relics. It is not only an enduring practical furniture in China's traditional architectural space, but also a concentration of China's traditional culture and traditional aesthetics. The continuous change of its form and function symbolizes the magnificent and endless development of China's traditional culture.
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