本文選題：漢畫像石墓 + 墓門��； 參考：《鄭州大學(xué)》2014年碩士論文

【摘要】：南陽在兩漢時期隸屬于荊州刺史部南陽郡治地，是畫像石（墓）分布的重要區(qū)域。墓門是墓葬中的一個重要構(gòu)成區(qū)域，也是一個特定的位置，它為深入審視畫像石墓這種獨特墓葬形式的各個方面提供了一個很好的角度。 本文是關(guān)于南陽漢畫像石墓門的初步研究，在認(rèn)真收集相關(guān)原始資料，仔細(xì)梳理前人研究成果，合理借鑒他人方法和理念的基礎(chǔ)上，運用統(tǒng)一規(guī)范下的數(shù)據(jù)庫方式著錄了南陽漢畫像石墓葬，墓門和畫像石相關(guān)信息，進(jìn)行了全面細(xì)致的樣本檢索和數(shù)量統(tǒng)計，根據(jù)南陽漢畫像石墓門的具體實際情況，將墓門分為門楣，門柱和門扇三個部分，以數(shù)據(jù)庫所得量化數(shù)據(jù)為基礎(chǔ)，以畫像內(nèi)容和組合為標(biāo)準(zhǔn)，進(jìn)行考古類型學(xué)分析，分期和年代推斷，建立了南陽漢畫像石墓門的年代框架，揭示了墓門畫像的配置特征，風(fēng)格和發(fā)展演變規(guī)律，為南陽畫像石墓的年代判斷（特別是那些年代判斷存在爭議的）提供佐證，結(jié)合整體墓葬研究，將畫像，墓門，墓葬三者聯(lián)系起來，解釋其演變原因，然后通過典型高頻圖像（幾何形圖，鋪首銜環(huán)圖，建筑圖，門吏圖）和形象（虎類，鳥類，龍類，神人，羽人）的試析，探討其中所蘊含的事死如生和祥瑞，辟邪，升仙的社會思想，最后對墓門功用作出定性的分析。 從興起，到發(fā)展，到鼎峰，最后消亡；從簡單粗獷，到精致細(xì)膩而又具體生動，最后到單調(diào)粗糙；從幾何形裝飾圖像，到樓閣人物等現(xiàn)實圖像，再到神獸羽人等超現(xiàn)實圖像，最后回歸幾何形圖像甚至素面；從追求冥界物質(zhì)生活享受的事死如生（基調(diào)）到祈求福佑的祥瑞，驅(qū)魔逐疫的辟邪，長生不死的升仙（側(cè)重），最后到對求仙不遂的失落和覺醒，以及對現(xiàn)實世界及時行樂的關(guān)注，墓門畫像就是整個畫像石墓葬的縮影，，它的發(fā)展演變展示了整個畫像石墓葬的興衰歷程。在這個歷程中，不僅僅是思想文化方面，漢代社會的政治，經(jīng)濟(jì)等其他因素也一定在其中起到重要作用，本文透過現(xiàn)有的考古資料和歷史文獻(xiàn)資料等這些零散的歷史碎片所復(fù)原的古代社會只是真實情況的冰山一角，一定會隨著舊有資料的深層次挖掘和新考古發(fā)現(xiàn)的發(fā)掘而不斷改變其面貌。
[Abstract]:Nanyang was an important area of stone relief (tomb) distribution in Nanyang County of Jingzhou in Han Dynasty. The tomb door is an important region and a special position in the tombs. It provides a good angle for a thorough examination of the various aspects of the unique burial form of the stone graveyard. This paper is a preliminary study on the door of the stone graveyard in Nanyang Han Dynasty. On the basis of collecting relevant original data carefully, carefully combing the previous research results, and using other people's methods and ideas for reference reasonably, This paper makes use of the database method under the unified standard to record the relevant information of the Han Dynasty stone tomb, the tomb gate and the stone relief in Nanyang, and carries on the comprehensive and meticulous sample retrieval and the quantity statistics, according to the concrete actual situation of the Nanyang Han Dynasty stone portrait tomb door, The door of the tomb is divided into three parts: the lintel, the post and the door. Based on the quantitative data obtained from the database, the archaeological typology analysis, staging and age inference are carried out on the basis of the contents and combinations of the portraits. In this paper, the chronological framework of the tomb gate of the Han Dynasty portrait of Nanyang is established, and the disposition characteristics, style and development law of the portrait of the tomb door are revealed, which provides evidence for the age judgment of the stone tomb in Nanyang (especially the controversial one). Combined with the study of whole tombs, the portraits, tombs and tombs are connected to explain the reasons for their evolution, and then through the typical high-frequency images (geometric figure, head rank ring map, building map, door official map) and image (tiger, bird, dragon), This paper discusses the social thought of death such as life and auspicious, dispelling evil spirits and rising immortals, and finally makes a qualitative analysis of the function of the tomb door. From rise, to development, to tripod peak, finally to extinction; from simple and rough, to exquisite, exquisite and vivid, and finally to monotonous roughness; from geometric decorative images to realistic images such as pavilions, and then to surreal images such as immortals, wild animals, feather people, etc. Finally returning to the geometric image or even the prime plane; from the pursuit of the material life of the underworld as life (the keynote) to the blessing of the auspicious, exorcism, the exorcism, the exorcism of the epidemic, the immortal ascendant (emphasis on the matter, the last to the loss and awakening of the immortality. As well as the attention to the real world, the portraits of the tomb door is the epitome of the whole stone tomb, its development and evolution shows the rise and fall of the whole stone tomb. In this process, not only the ideological and cultural aspects, but also the social politics, economy and other factors of the Han Dynasty must play an important role in it. The ancient society restored by these scattered historical fragments through the existing archaeological materials and historical documents is only the tip of the iceberg. With the deep excavation of old materials and the excavation of new archaeological discoveries, it will change its appearance.
【學(xué)位授予單位】：鄭州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：K878.8

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 張宏;漢代《郊祀歌十九章》的游仙長生主題[J];北京大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);1996年04期

2 張建;曾家包二號墓墓門畫像考辨[J];成都大學(xué)學(xué)報(社會科學(xué)版);1988年01期

3 孫學(xué)鋒;;漢畫像石墓門扉圖像的藝術(shù)性論析[J];懷化學(xué)院學(xué)報;2009年10期

4 梁玉坡;;河南南陽縣蒲山漢墓的發(fā)掘[J];華夏考古;1991年04期

5 蔣宏杰;宋煜輝;劉小兵;強(qiáng)華;呂明剛;張海濱;王麗麗;;河南南陽市永泰小區(qū)漢畫像石墓[J];華夏考古;2010年03期

6 孫作栻;;評“沂南古畫像石墓發(fā)掘報告”——謙論漢人的主要迷信思想[J];考古通訊;1957年06期

7 王褒祥;劉建洲;周到;;河南南陽東關(guān)fI墓[J];考古;1963年01期

8 王儒林;;河南南陽西關(guān)一座古墓中的漢畫象石[J];考古;1964年08期

9 王儒林;;河南南陽市發(fā)現(xiàn)漢墓[J];考古;1966年02期

10 張其海;;山東蒼山元嘉元年畫象石墓[J];考古;1975年02期

本文編號：1786760