石室丹青

【作者】 李林；

【导师】 罗世平；

【作者基本信息】 中央美术学院 ， 美术学， 2011， 博士

【摘要】 以辽东郡治襄平(今辽阳)为中心的地区,是两汉至魏晋时期东北边疆重镇,也是汉文化进入东北地区产生影响的文化枢纽。在这一区域内陆续发现了大量汉魏时期的石室壁画墓葬是考察汉魏时期中原墓葬文化对辽东地区辐射影响的重要资料。本文针对汉魏时期辽东墓室壁画的研究,主要有以下三个目的：一是要通过梳理整合材料,建立起辽东地区汉魏壁画墓的编年序列,厘清墓葬的发展脉络；二是要通过阶段性特征与地域性特征两条线索,考察不同地区在汉文化进入辽东的历史进程中的文化选择与进入模式,以及与本地传统相融合的形成机制与文化面貌；三是结合历史进程考察,分析辽东地区汉魏壁画墓兴衰原因,以及其汉文化因素在东北地区的影响流布问题,思考汉文化在边疆地区传播影响的面貌与模式。本文主要通过六个部分展开讨论：第一部分是辽东地区汉魏壁画墓的发现与基础材料的整理工作。通过对已发表材料,并结合走访、调查部分尚未正式发表或被淹没于历史之中的资料碎片,首先试图重建起较为完整的基本面貌,改变以往辽东壁画墓基础材料过于零散、杂乱的面貌第二部分主要是针对壁画题材图像的分类梳理工作。通过对主要题材中图像组合方式、空间使用分布、图像演变特征等情况的整理,建构起一个相对准确的发展谱系和判断标准,为对墓葬的分期工作奠定基础。第三部分解决本地壁画墓的分期问题。为解决以往由于纪年材料的缺失以及资料的流散所带来的对本地墓葬分期不清的问题,在充分依据壁画图像和墓葬形制演变的基础上,综合考察辽东地区社会历史进程发展情况,将本文的分期工作与历史进程考察紧密结合。本文提出将辽东壁画墓划分为四期,并讨论了各期壁画墓发展变化背后的历史背景与社会条件。第四部分主要是讨论辽东墓室壁画的汉文化传统渊源问题。本文主要通过对中原地区、山东地区的相关墓葬考察与对比,梳理辽东汉魏壁画墓中主体的汉文化因素的传统来源、传入途径与传播模式等问题。提出结合本地政治势力的起伏,人口流动,文化选择等问题,在不同历史阶段中,辽东地区的汉文化传入通过不同渠道,体现出了被动接受辐射影响与主动吸取移植引进两种不同的模式。第五部分讨论了辽东汉魏壁画墓的地域特征。首先整理出本区域内的几个集中分布的墓葬群,并讨论其整体特征和时代面貌。此外,通过对本地独特的墓葬营建方式、葬俗特点、独特的图像内容以及墓葬空间与特定图像的组合使用情况的讨论,体现出汉文化进入过程中本地固有因素的延续面貌与结合转变。尤其是其中关于以墓主画像为中心的图像演变与空间使用的考察,可以成为贯穿辽东墓室壁画发展的一个重要考察线索。第六部分考察了辽东壁画墓中的汉魏墓葬艺术传统在之后东北周边地区的流变与影响。通过结合历史进程的考察,对相邻的辽西、高句丽壁画墓中相关因素的考察与比对,体现了辽东地区形成的汉文化为主体的面貌在对周边区域文化的影响作用。更多还原

【Abstract】 As the cultural axis that effected by Han culture, East Liao county, with the capital of Xiangping, preserves the significant status of culture and military importance as the northeast border town during Han and Wei Jin Dynasty. The murals in the stone tombs during Han and Wei Dynasty discovered in this district are the crucial documents which found the ground of discussing that the East Liao district influenced by the burial culture in Mid Land during this period. This thesis statement contains three aims based on the above subject-the tomb mural during Han and Wei Dynasty in the East Liao district-firstly, composing the chronological list of the tomb mural during Han and Wei Dynasty in the East Liao district in order to settle the development series on the ground of arranging documents; secondly, discussing various culture patterns of selecting and accessing in the course of Han culture’s entrance by means of examining both the period characteristics and the regional features, in addition, analyzing the conformation mode of combining Han culture with local tradition; last but not least, clarifying both the origin of the rise and fall of the tomb mural during Han and Wei Dynasty in the East Liao district and the promulgation of Han culture factors in the Northeast district including its panorama and mode through examining the historical course. There are six chapters within this thesis.The 1st chapter focuses on arranging the radical material of the tomb mural during Han and Wei Dynasty in the East Liao district, which aims at representing the whole appearance relatively that results in altering the scattered current status of the radical material of the tomb mural in the East Liao district on the ground of published documents and not yet published ones.The 2nd chapter concentrates on the classification of various subjects of mural image, which aims at creating a precise pedigree and estimation to settle the ground of era split of tomb through arranging the way of combination, applying and evolving within images of major subjects.The 3rd chapter attempts to resolve era split of tomb in this district, which account for disposing the obscure era split of tomb in this district due to lacking material with accurate era record with the root of examining the progress of mural images and tomb patterns in the setting of historical development of East Liao district. The view the thesis proposes is four phases of mural tomb in East Liao district, in addition, it’ll discuss the historical setting and the social origin of each phase evolving.The 4th chapter is primarily arguing for the Han culture tradition as the origin for the tomb mural in East Liao district. Comparing the interrelated tombs scattered in Mid Land and Shandong Province with the ones in East Liao district, it settles three problems-the origin of tradition, the way of entrance and the mode of dissemination which determines the major status for Han culture of tomb mural in East Liao district during Han and Wei Dynasty. In conclusion, this thesis argues that passive acceptance and positive absorption represent two modes of Han culture’s access.The 5th chapter is arguing the regional features of mural tomb in East Liao district during Han and Wei Dynasty. Above all, the overall features and the period characteristics would be discussed on the base of arranging certain tomb groups in this district. After that it comes that discusses the continuing and transforming of local inhere factors during Han culture’s access on the ground of analyzing the unique building pattern, funeral features, image subjects and applying of distinct image combining with tomb space, especially for the evolving portrait of tomb master and its application of space, which means an essential clue for discussing the progress of mural tomb in East Liao district.The 6th chapter is engaged in the circulation and influence of the traditional mural tomb art of Han and Wei Dynasty in East Liao district concerning to the broader region of Northeast China. It would reflect the influence of Han culture as the majority in East Liao district on broader region through researching on relative factors of mural tombs in West Liao district and Koguryo.更多还原