【摘要】： 漢代墓葬中的壁畫作為當(dāng)時(shí)社會面貌和人們思想的具體映像,綜合了政治制度、社會關(guān)系、生產(chǎn)能力、戰(zhàn)爭方式、道德觀念、精神信仰等各方面內(nèi)容,對研究漢代社會風(fēng)俗、文化藝術(shù)等具有重要意義——首先,為復(fù)原當(dāng)時(shí)社會文化、民風(fēng)民俗提供實(shí)物圖像資料;其次,通過考察和分析漢代墓室壁畫的特點(diǎn)及發(fā)展變化,既可以了解當(dāng)時(shí)的喪葬文化,又可以對當(dāng)時(shí)社會的政治、經(jīng)濟(jì)和思想有所認(rèn)識。 自20世紀(jì)初以來,我國已發(fā)現(xiàn)、發(fā)掘了60余座漢代壁畫墓,為漢代歷史研究提供了豐富而珍貴的資料,而對于漢代壁畫墓的研究亦為我國學(xué)者所鐘愛,學(xué)術(shù)界在這方面的研究成果也較為豐碩。遼陽地區(qū)的漢魏晉壁畫墓雖被視為中國壁畫墓發(fā)掘、研究的起點(diǎn),但是由于資料發(fā)表及研究視角的局限,國內(nèi)外學(xué)界對其研究還不夠充分,對其較高的學(xué)術(shù)價(jià)值尚不夠重視。本文現(xiàn)以遼陽地區(qū)漢魏晉壁畫墓中規(guī)模最大、結(jié)構(gòu)最復(fù)雜、壁畫繪制最精美的北園1號墓墓室壁畫為研究對象,從描述其基本內(nèi)容及空間分布入手,進(jìn)而分析、考釋其中具有代表性的壁畫內(nèi)容(具體為:墓主身份的認(rèn)定、樂舞百戲圖圖右九人身份考釋、車馬出行圖之功能探究),闡述其壁畫自身藝術(shù)特色。 希望通過本文的寫作,可以達(dá)到豐富遼陽地區(qū)漢魏晉壁畫墓研究資料,補(bǔ)充個(gè)案研究,引起學(xué)界對于遼陽漢魏晉壁畫墓關(guān)注、保護(hù)之目的。
[Abstract]:The murals in the tombs of the Han Dynasty, as a concrete reflection of the social outlook and people's thoughts at that time, integrated the political system, social relations, productive capacity, war methods, moral concepts, spiritual beliefs, and so on, to study the social customs of the Han Dynasty. Culture and art are of great significance-first of all, to restore the social culture at that time, folk customs and folk to provide material; Secondly, through the investigation and analysis of the characteristics and development of the murals in the tombs of the Han Dynasty, we can not only understand the funeral culture at that time, but also understand the politics, economy and thought of the society at that time. Since the beginning of the 20th century, China has discovered and excavated more than 60 mural tombs of the Han Dynasty, which has provided rich and precious information for the study of the history of the Han Dynasty, and the research on the murals tombs of the Han Dynasty has also been loved by Chinese scholars. Academic research in this area is also relatively fruitful. Although the fresco tombs of Han Wei and Jin dynasties in Liaoyang area are regarded as the starting point of Chinese mural tombs the academic circles at home and abroad have not paid enough attention to their higher academic value because of the limitations of the publication of materials and the research perspective. Taking the murals of Han, Wei and Jin dynasties in Liaoyang area as the research object, which is the largest in scale and the most complicated in structure, the murals of the tomb no. 1 in Beiyuan are painted as the research objects, the basic contents and spatial distribution of the murals are described and then analyzed. This paper discusses the representative murals (the identification of the owner of the tomb, the right nine people's explanation of the music and dance hundred opera pictures, and the function of the car and horse trip map), and expounds the artistic characteristics of the murals themselves. Through the writing of this paper, we hope to enrich the research data of Han, Wei and Jin murals in Liaoyang area, supplement the case study, and arouse the attention and protection of scholars for the tomb of Han, Wei and Jin murals in Liaoyang.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：K879.4

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 王麗穎;中國北方地區(qū)宋金墓葬中宴飲圖裝飾研究[D];山西大學(xué);2013年

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本文編號：2387738