汉代画像石的审美研究

【作者】 王娟；

【导师】 张弘（普慧）；

【作者基本信息】 西北大学 ， 中国审美文化史， 2011， 博士

【摘要】 画像石是汉代丧葬礼仪的一部分,同时也是中国艺术史上一个重要门类。陕北、晋西北地区画像石总的来说有以下几方面的特点：第一,陕北、晋西北地区属于中原文化与西北少数民族及外域文化交往频繁的边疆地区,因此该地区画像石艺术体现出多元文化特征；第二,该地区汉代画像石的创作手法最为丰富,也最为娴熟；第三,该地区画像石中既有山东、南阳及徐州等地区早期画像石中常见的题材,又结合区域特色发展出新的题材；最后,该地区画像石出现在东汉中晚期,这一时期是中国古代思想的重要转折期,因此,该地区画像石中所反映的民众思想和审美情感远比其他地区复杂。以陕北、晋西北地区画像石作为考察的中心,也正是看重它在各方面所具有的代表性、综合性与复杂性。陕北、晋西北地区是我国画像石五大分布区之一,出现时间较晚(东汉中晚期),数量集中,因而在思想观念和题材内容等多方面体现出明显的时代性和区域特征。陕北、晋西北地区的画像石分布在陕西省榆林市的榆阳区、绥德县、米脂县、清涧县、子洲县、横山县、神木县、靖边县、吴堡县和山西省吕梁市的离石区、柳林县和中阳县。截止2009年,该区域共出土画像石1177块；石刻艺术并非在一时一地由一人所创,而是在人类文明的曙光初现之时便被广泛使用的表达方式。但具体到陕北、晋西北地区画像石工艺的使用、发展和传播,还是在很大程度上受到其他地区画像石工艺的影响；墓葬是属于个人的,但是其中反映的丧葬习俗和民众情感因素却具有社会普遍性。因此,墓葬的个体性和集体性之间是一种互为因果的关系。陕北、晋西北地区画像石艺术构图复杂、造型逼真、手法细腻。其题材及内容则反映出边疆地区的风土人情和多元文化特征。作为汉代丧葬礼仪一部分而诞生的画像石,必然与民众宗教审美情感相关。陕北、晋西北地区画像石艺术盛行于东汉中晚期,这一时期正是早期自然宗教方兴未艾,而佛教、道教信仰及其他文化因素逐步发展传播的重要时期。“西王母一昆仑山”信仰、司命信仰、佛教因素、以及西域少数民族宗教因素等诸多思想观念都影响着该地区画像石的发展及其艺术审美思维的走向。中国早期自然宗教观念依然是该地区画像石艺术主要表达的内容,但其他宗教文化观念的影响也不容忽视,从题材、图式和构图模式的细微变化中,便可看到东汉中期民众信仰多元化的倾向。汉代画像石与东汉时期道教信仰之间的关系极为复杂,这与道教自身思想及作为独立的人为宗教建立过程的复杂性有关。陕北、晋西北地区画像石上的绝大多数题材内容或图式符号都受到了东汉中晚期多种复杂思想信仰的综合影响,而它们其中的一部分,最终成为后世道教文化体系的符号。其中亦有少数图像可能直接受到新兴道教发展和传播的影响,如不戴胜的西王母、“朱雀衔丹”图式和“捣药兔”等。但这种影响反映在画像石艺术中依然是零散而不成系统的。作为造型艺术的汉画像石,其“形式美”由其“质料”、“造型及构图模式”、“色彩”以及“技法”几方面构成。它既遵循艺术自身的发展规律,同时又是由社会思想文化因素发展演变所支撑起的“有意味的形式”。其中,对石头的选择归因于汉代的民众生死观；汉代盛行的阴阳五行观念在画像石艺术的构图模式中表现为明确的“二元对应”模式；相比之下,画像石艺术中设色的方式与阴阳五行观念之间的关系较为松散,它体现的是人类更为自由的视觉与审美意识之间的关系；而画像石艺术中运用的技法,则体现出早期人类的认知和思维模式,以及他们对世界“真实性”的理解。汉代画像石的艺术风格,是一种类似于“线描”的风格,而这种风格,毋宁称之为“群体风格”。在这种绘画中,人们可以回避产生误解的画面构成因素,而致力于描绘一种人人皆可准确把握的客观的主题思想。汉代画像石艺术属于“壮美”的范畴,是一种象征型的艺术,这是由其繁复与堆叠的创作手法和丰富多彩、驳杂并兼的创作题材所决定的。“朱雀一铺首衔环”图式是陕北、晋西北地区乃至全国画像石墓葬中最为常见的图式,它的出现和发展经历了三个阶段,从而清晰地表现出汉代画像石艺术风格和审美意识的变迁。画像石墓葬在汉代之后迅速衰退但并未完全消失,而画像石艺术作为一种艺术审美心理,也很有可能随着民众信仰和审美文化的发展而潜存下来,并对此后的民间艺术创作产生潜移默化的影响。中国传统剪纸艺术中就有与汉画像石艺术相同的题材和相似的构图模式,如“鹿图”和“阴阳图式”等。这或可为研究汉代之后画像石艺术的流传与嬗变提供参考和依据。更多还原

【Abstract】 The Portrayal Art is one of very important representatives of the Funeral Art in Han Dynasty, and of very valuable disciplines in the history of Chinese art. The portrayals in the North of Shaanxi and the Northwest of Shanxi has following features in general:The first is that the portrayals in the north of Shaanxi and the northwest of Shanxi where the culture of Central Land is connected and mingled with the cultures of Minorities and Western Regions is diversiform and pluralistic. The second observation is the technique of these portrayals is very various and skilled. The third observation is about topics and subjects which are both bequeathed by the earlier portrayals in Shandong, Nanyang and Xuzhou, and mingled with salient characteristics in their own region. And the final is its complicated contents which reflect the people’s thoughts and aesthetics of the Middle Han Dynasty when Chinese thoughts were changed a lot. I indeed take them as the case for its representation, integrity and complexity.It is one of the five famous unearthed portrayals areas in the North of Shaanxi and the Northwest of Shanxi where portrayals were antiquated (in the middle of East Han Dynasty) and concentrated. Until 2009, there are 1177 unearthed portrayals spreading in Shaanxi (specially focusing on Yuyang, Suide, Mizhi, Qingjian, Zizhou, Gengshan, Shenmu, Jingbian and Wubao) and Shanxi (specially focusing on Lvliang, Lishi, Liulin and Zhongyang). Portrayals were not created personally, but by a common expression which is as same as other antiquated arts. However, the technique, development and spread of the portrayals in the north of Shaanxi and the northwest of Shanxi were still effected by portrayals in other areas. Although funeral is a kind of personal activity, it indeed expresses some social universality by consuetude and sensibility. It therefore is very significative to discuss the relationship between individuality and collectivity. Finally, the portrayals in these areas is diversified, verisimilitude and excellent in design, model and technique. Their subjects are very pluralistic, and almost contain all the local conditions and customs around the frontier region.As one part of funeral rite, portrayals are closely related to the aesthetic of folk religions at the very beginning. Portrayals in the north of Shaanxi and the northwest of Shanxi were very popular in the Middle of Eastern Han Dynasty while many earlier religions were in ascendant. Buddhism, Taoism and other cultural features were widely spread. The development and aesthetic minds of portrayals were deeply affected by the beliefs of "the Goddess of Western Heaven/Kunlun Mountain", of Punishment, of the Buddhism, and of the folk religions in western regions. The early Chinese natural religions are one of main topics of those portrayals, but we cannot ignore other religious cultures and minds that concreted on the tiny shift of topics, patterns and models of portrayals.It is very hard to analyze the relationship between portrayal art and Taoism in Eastern Han Dynasty, for the complexity of the thought development and the foundation as independent religion. Portrayals of the north of Shaanxi and the northwest of Shanxi are affected a lot by many religions during the middle of Han Dynasty. It is very complicated and pluralistic. Some of them became typical symbols of Taoism system; others (which are scattered and non-systemic) may be affected by the development and spread of neo-Taoism, such as the legends of "Xi Wangmu not wear a Sheng", "scarlet Bird with Dan medicine in it’s mouth", and "Not die medicine producing rabbit". However, those affections in portrayals are very scattered and non-systemic.The portrayals’beauty in form is contributed by metal, construction, color and skill. It is meaningful form which is supported by the development of social culture and thought, though it is following the rules of art itself. The choice of stones attributes to people’s philosophy about life and death. And the construction of portrayals indeed expresses as the dual-corresponding model because Ying-yang is very popular in Han Dynasty. To be contrasted, the color is less related to the Ying-yang. It expresses as more free relationship between human vision and aesthetic consciousness. And the skill of portrayals embodied the model of cognition and mind of early human, and their understanding to the reality of world.The aesthetic type and model of portrayals of Han Dynasty is a kind of "line" style, called colony style, by which, in their drawing, people can avoid the misunderstanding aspects to focus on the objective topic that be grasped by everyone. Portrayal in Han Dynasty is a kind of symbolized art, and belongs to the model of magnificence in aesthetics, for its complexity and pluralism in skill and topic. The portrayal pattern named "scarlet Bird- gilt escutcheon with a ring" is very common in the north of Shaanxi and the northwest of Shanxi. It has three different steps which clearly illuminate the transform of artistic style and aesthetic consciousness of portrayals in Han Dynasty.After Han Dynasty, portrayals in funeral were decaying, but were not totally disappeared. On the other hand, as a kind of aesthetic, the portrayal exists with the development of folk religions aesthetic culture, and also impacts potentially on folk art. Sometimes, the tradition Chinese kirigami has the same topic and patterns as portrayals, such as "schema of Deer" and "schema of yin-yang", which provide reference and foundation for studies on portrayals after Han Dynasty.更多还原