本文選題：赤峰市敖漢旗 + 羊山遼墓�。� 參考：《中央民族大學(xué)》2011年碩士論文

【摘要】：中國歷史上的遼王朝是一個善于接受外民族文化并長期與漢族和諧共處的一個王朝。這個民族在與漢族融合的基礎(chǔ)上創(chuàng)造了這一時期的各種豐富燦爛的文化。 墓室壁畫就像一部靜態(tài)的影片,能帶領(lǐng)我們穿越時間和空間回到久遠(yuǎn)的歷史場景。在遼墓壁畫研究領(lǐng)域,專家和學(xué)者們分別從考古學(xué)、歷史學(xué)、民族學(xué)、藝術(shù)學(xué)等各學(xué)科的視角做了多角度、多方面的研究。而從藝術(shù)學(xué)和民族交流的角度來對遼墓壁畫的個案研究的論文目前較少。有鑒于此,本論文試圖在個案研究上進(jìn)行深入地探索。 本論文在田野調(diào)查和相關(guān)文獻(xiàn)的基礎(chǔ)上,從壁畫的功能、意義及其反映的民族融合的情況等方面來對羊山墓壁畫進(jìn)行綜合的個案研究。本論文主要分為“緒論”、“赤峰市敖漢旗羊山遼墓壁畫概況”、“羊山墓壁畫的內(nèi)容與形式”、“墓室壁畫的功能及意義”、“從壁畫看民族間的交流與融合”五章。論文第一章介紹了本研究的選題緣起與意義、研究目的與方法、概念界定與文獻(xiàn)綜述。第二章介紹了赤峰市敖漢旗羊山遼墓壁畫的墓葬位置、壁畫分布及保存狀況等情況。第三章主要對墓室壁畫進(jìn)行了圖像分析,包括壁畫的色彩、線條、構(gòu)圖、技法等因素以及所反映的風(fēng)格特征。第四章探討了墓室壁畫的功能,即圖像證史功能和補(bǔ)史功能。第五章詳細(xì)闡述了民族間的交流和融合在畫面中的體現(xiàn),即從物質(zhì)層面、制度層面、精神層面以及行為方式上進(jìn)行闡釋,同時分析了影響民族交流和融合的因素。 墓室壁畫作為一種獨(dú)特的喪葬藝術(shù)形式,不僅可以折射出當(dāng)時遼代的政治、經(jīng)濟(jì)、文化、自然生態(tài)及社會的發(fā)展情況,還可以佐證和完善遼代美術(shù)史的發(fā)展演變,對中國北方少數(shù)民族社會史和藝術(shù)史的研究具有重要的價值。另外,墓室壁畫也反映了契丹貴族關(guān)于生死的態(tài)度,審美心理、審美情趣等精神世界都具有特殊的意義。同時,對墓室壁畫這樣獨(dú)特的文物遺產(chǎn),進(jìn)行全方位的保護(hù)和研究具有重要的現(xiàn)實(shí)意義。
[Abstract]:Liao Dynasty in Chinese history is a dynasty which is good at accepting foreign culture and living in harmony with Han nationality for a long time. On the basis of its fusion with the Han nationality, this nation created various rich and splendid cultures of this period. Tomb murals are like a static film that can lead us through time and space back to distant historical scenes. In the field of murals of Liao tombs, experts and scholars have made various studies from the perspectives of archaeology, history, ethnology, art and other disciplines. However, there are few papers on the case study of Liao Tomb murals from the angle of art and ethnic communication. In view of this, this thesis attempts to make a thorough exploration on the case study. On the basis of field investigation and related documents, this paper makes a comprehensive case study on the murals of Yangshan Tomb from the aspects of mural function, significance and the situation of national integration. This thesis is divided into five chapters: "introduction", "Overview of murals in Liao Tombs of Yangshan in Aohan Banner, Chifeng City", "contents and forms of murals in Tombs of Yangshan", "functions and significance of murals in tombs", and "Communication and fusion of nationalities from murals". The first chapter introduces the origin and significance of the topic, the purpose and method of the research, the definition of the concept and the literature review. The second chapter introduces the location, distribution and preservation of the murals in Yangshan Liao Tomb of Aohan Banner, Chifeng City. The third chapter mainly analyzes the image of the tomb murals, including the color, lines, composition, techniques and other factors of the murals, as well as the reflected style characteristics. Chapter four discusses the function of murals in tombs, that is, the function of image-proof history and the function of filling up history. The fifth chapter elaborates the communication and fusion of ethnic groups in the picture, that is, from the material level, the system level, the spiritual level and the behavior way to explain, at the same time has analyzed the influence national exchange and the fusion factor. As a unique form of funeral art, tomb murals can not only reflect the political, economic, cultural, natural ecology and social development of Liao Dynasty, but also prove and perfect the development and evolution of Liao Dynasty art history. It is of great value to study the social history and art history of ethnic minorities in northern China. In addition, tomb murals also reflect the Qidan aristocrat's attitude on life and death, aesthetic psychology, aesthetic taste and other spiritual world has special significance. At the same time, it is of great practical significance to protect and study the unique cultural relics such as tomb murals.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：K879.41;J218.6
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本文編號：1797872