本文關(guān)鍵詞： 宋代 墓葬壁畫 分區(qū)和分期 多元信仰　出處：《華中師范大學》2011年碩士論文　論文類型：學位論文

【摘要】：宋代被公認是繼漢、唐以后墓葬壁畫發(fā)展的又一個高峰時期,現(xiàn)已發(fā)現(xiàn)的壁畫墓非常豐富,如果加上同時期曾與之并列的遼、金政權(quán)范圍內(nèi)的壁畫墓,宋代壁畫墓從數(shù)量上應(yīng)遠勝漢唐。這些壁畫墓為我們提供了豐富而生動的墓葬壁畫,它們不僅是美術(shù)史重要的一環(huán),也是我們研究宋代社會史、思想史的形象材料。筆者在系統(tǒng)整理宋代壁畫墓考古材料的基礎(chǔ)之上,對這一時期的墓葬壁畫研究嘗試做一些新的探索。 本文首先對宋代墓葬壁畫的發(fā)現(xiàn)和研究做了較為詳盡的介紹。 在對宋代壁畫墓分區(qū)和分期方面,本文主要是根據(jù)墓葬壁畫的內(nèi)涵劃分的,這與其他依據(jù)墓葬形制、出土器物,或者是包含了磚雕、石刻等裝飾的分區(qū)與分期研究有一定區(qū)別。同時筆者根據(jù)自己對資料的整理和分析,將宋代墓葬壁畫分為6個區(qū),即1.河南中部、西部及山東地區(qū)；2.河南北部及山西東部、南部地區(qū)；3.山西中部、河北地區(qū)；4.陜西、甘肅地區(qū)；5.福建地區(qū)；6.長江中游地區(qū),以及4期7段,即：1.第一期(約北宋中前期),前段：大致相當于太祖至真宗年間、后段：大致相當于仁宗年間；2.第二期(約北宋后期),前段：大致相當于英宗至神宗年間、后段：大致相當于哲宗年間；3.第三期(約北宋晚期),前段：大致相當于徽宗年間、后段：大致相當于欽宗年間；4.第四期(南宋時期)。此外,對各區(qū)和各期的主要特點進行了論述。 宋代墓葬壁畫不僅發(fā)現(xiàn)的數(shù)量眾多,而且和漢唐時期相比,有了一些新的變化,表現(xiàn)出了其時代特色。這一方面有歷史傳承的關(guān)系,宋代墓葬壁畫是漢唐壁畫墓發(fā)展的延續(xù)；另一方面也和宋代相對的經(jīng)濟繁榮,文化發(fā)達有關(guān)；此外還與宋代出現(xiàn)“厚喪薄葬”的現(xiàn)象有關(guān)。本文從歷史的淵源關(guān)系,宋代經(jīng)濟文化的發(fā)展,以及喪葬觀念的改變幾個方面探討了宋代墓葬壁畫盛行,和出現(xiàn)變化的原因。 最后,文章從思想史的角度探討了儒釋道對宋代墓葬壁畫的影響。宋代是公認在思想史上出現(xiàn)三教合一趨勢的重要時期,這一思想界的變化不僅反映在知識分子群體中,也對民間社會產(chǎn)生了重要的影響,并深入到了地下的世界。和反映士大夫階層思想狀況的文獻材料相比,這些墓葬壁畫更多的反映了民間信仰。筆者希望能從墓葬壁畫中探索這一現(xiàn)象。
[Abstract]:Song Dynasty has been recognized as another peak period for the development of tomb murals after Han and Tang dynasties. The mural tombs found are very rich. If we add the murals in the scope of Liao and Jin regime which were juxtaposed with them in the same period. The mural tombs of the Song Dynasty should outnumber the Han and Tang dynasties. These mural tombs provide us with rich and vivid tomb murals, which are not only an important part of the history of fine arts, but also a study of the social history of the Song Dynasty. On the basis of systematically arranging the archaeological materials of the mural tombs of the Song Dynasty, the author tries to make some new explorations on the research of the tomb murals in this period. This paper first introduces the discovery and research of tomb murals in Song Dynasty in detail. In the division and division of the tomb of the Song Dynasty, this article is mainly based on the connotation of the tomb murals, which is based on the tomb shape, unearthed objects, or contains brick carvings. At the same time, the author divides the tomb murals of the Song Dynasty into six areas, I. E. the central, western and Shandong areas of Henan Province. 2. The north of Henan and the east and south of Shanxi; 3. Central Shanxi, Hebei; 4. Shaanxi, Gansu; 5. Fujian region; (6) the middle reaches of the Yangtze River, and the 4th stage 7, namely, the first stage (about the early Northern Song Dynasty), the front section: roughly equivalent to the period from Taizu to Zhenzong, and the latter: roughly equivalent to the Renzong period; 2. The second phase (about the late Northern Song Dynasty), the first paragraph: roughly equivalent to the period from Yingzong to Shenzong, and the latter: roughly equivalent to the period of philosophy; 3. The third period (about the late Northern Song Dynasty), the front paragraph: roughly equivalent to the Huizong years, the latter part: roughly equivalent to the imperial period; 4. Period 4th (Southern Song Dynasty). In addition, the main characteristics of each district and period are discussed. The tomb murals of the Song Dynasty not only found a large number, but also compared with the Han and Tang dynasties, there have been some new changes, showing its characteristics of the times. The tomb murals of the Song Dynasty are the continuation of the development of the murals' tombs in the Han and Tang dynasties. On the other hand, it is also related to the relative economic prosperity and cultural development of the Song Dynasty. In addition, it is related to the appearance of "thick funeral and thin burial" in Song Dynasty. This paper discusses the prevalence of tomb murals in Song Dynasty from the historical origin, the development of economy and culture in Song Dynasty, and the change of funeral concept. And the causes of change. Finally, the article discusses the influence of Confucianism, Buddhism and Taoism on the tomb murals in the Song Dynasty, which is recognized as an important period in the ideological history. This change in the ideological circle not only reflected in the intellectual community, but also had an important impact on civil society, and went deep into the underground world, and compared with the literature and materials reflecting the ideological status of the literati and officials class. These murals reflect more folk beliefs. The author hopes to explore this phenomenon from the murals of tombs.
【學位授予單位】：華中師范大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：K878.8

【引證文獻】

相關(guān)碩士學位論文 前2條

1 孫升;河南宋墓壁畫色彩研究[D];鄭州大學;2012年

2 閆曉英;山西長治地區(qū)金代墓室壁畫研究[D];山西大學;2013年

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本文編號：1470350