【作者】 高明；

【导师】 李凇；

【作者基本信息】 西安美术学院 ， 美术学， 2008， 博士

【摘要】 西安东岳庙历经北宋、南宋、金、元、明、清、民国流传至今,是东岳大帝在关中地区的总祠,其庙内现存殿宇四座,殿内雕塑无一幸存,仅在主殿和寝殿内幸存有壁画。经过实地测量可知,该庙主殿壁画是陕西境内现存宫观壁画中单体面积最大的,是陕西古代美术史中一个不可或缺的组成部分。目前,对西安东岳庙的研究仅限于一般的文字性介绍,以及从建筑角度的研究和规划,对庙内壁画的研究还处于起步阶段,未见到比较深入的研究。本文是针对西安市东岳庙现存道教壁画展开研究的,在通过多次实地考察、调研走访和查阅了大量详实的文献资料之后,结合碑文和重修记载,使用图像分析比较等方法,对壁画的绘制年代进行了较为详细的考证,初步断定该庙壁画均绘制于清朝,其中主殿壁画绘制于清朝康熙五十四年(1715年)左右,寝殿壁画应绘制于清朝乾隆二年(1737年)左右。西安东岳庙壁画的绘制内容是本文研究的一个重点。现有资料还没有对壁画内容的介绍,笔者结合比较国内众多东岳庙壁画内容,初步断定该庙主殿壁画内容为东岳大帝领导下的司职题材,并指出司职题材的由来和演变,以《东岳大生宝忏》中的司职目录为依据,联系北京东岳庙司职解释,对主殿壁画中的司职内容进行一一比对定名、描述。在现今所见司职内容壁画中,该殿壁画绘制年代是最早的,对研究东岳大帝信仰演变具有重要的宗教史学价值。寝殿壁画内容以仕女题材为主,结合寝殿的功能,可以确定该殿壁画反映东岳大帝夫人所在的内宫内容。论文的最后一部分讨论东岳庙壁画艺术的形式、演变及其与传统文化的关系。阐述佛教在东传过程中,与汉文化融合,将最初地狱经变演化出《十王经》,其图像也由唐、五代时期在同一画面中以地藏菩萨为中心十王为辅的结构,逐渐转变成宋代为以地藏菩萨为中心十王为辅的十一幅独立画面,这一演变直接影响司职图像的形成。中国传统“神鬼”信仰与道教经典结合,其所产生的图像在西安东岳庙壁画上亦有所体现。此外,壁画内容还受宋代世俗绘画的影响,平凡人物的日常生活事迹成了壁画创作的焦点,多数的司职内容没有采用衙门审判图式,而是通过普通人的日常生活为题材显现的。在壁画的艺术形式特征方面,文中着重分析了壁画的构图组合与顺序、山水形态与?更多还原

【Abstract】 Xi’an Dong-yue Shrine is the chief Dong-yue shrine in Guanzhong District,with the long history from Dynasties of the Northern Song,the Southern Song,the Jin,the Yuan,the Ming,the Qing,and Republic of China till now.There are only four halls and no any sculptures survived now and the frescos are existing in the principal and bedroom halls.The on-site measurement shows that the fresco in the principal of the shrine is the largest Taoism fresco monocase in Shaanxi.province and a very important portion of Shaanxi fine arts history.There are only literal introduction and some architectural plans and researches of Xi’ an Dong-yue Shrine and no in-depth studies on the frescos now.The thesis focuses on the survive Taoism frescos in the shrine. Based on many times of on-the-spot investigations and consulting the massive detailed literature materials,comparing and analyzing the pictures,with the inscription and rebuilding record,this paper has preliminaryly proved that the frescos were painted in the Qing Dynasty, and the one in the principal was painted in about 53rd year of the reign of Qing Emperor Kangxi（A.D.1715）,that in the bedroom palace in about 2^nd year of the reign of Qing Emperor Qianlong（A.D.171537）.The content of the frescos in the Shrine is another key research point in the thesis,which has not been studied in any acquiredresearch datas. Combining with the frescos in otherDong-yue shrines of China,the author gets preliminary conclusion that the frescos content in the principal were the judicial departments taken in charge by the Dong-yue emperor.The origination and evolution of the judicial departments are discussed in the thesis.And based on the department names list in "Dong-yue Da Sheng Bao Chan",combined with the explanation of them in Beijing Dong-yue Shrine,various duty departments in this shrine are named and described in the thesis.In all the frescos about duty departments we have found and studied,the fresco in this shrine is the earliest one,which is of great religious and historical value for the evolution research on the Dong-yue faith.The fresco content in bedroom hall are mainly traditional beautiful women,based on the figures and the function of a bedroom palace, it comes to a conclusion that this fresco showed the bedroom palace scene of the wife of Dong-yue emperor.In the last part of the thesis,the art form and evoltion of the frescos in Xi’ an Dong-yue Shrine are discussed,and the relationship between the fresco and traditional culture is examined.It elaborates that Buddhism merged with the Han culture during its spreading throughout China,which leaded to "the Shi Wang Scripture" deVeloping from "the Hades Scripture" and at the same time the Buddhist images changed.From the Tang Dynasty to the Song D,ynasty,the structure of Buddhist images changed from one image to eleven independent images in which the Ksitigarbha was in the middle and ten Kings in two lines aside.This evolution affected the forming of the judicial departments images in Taoism.Meanwhile the images coming from the combination of Chinese traditional superstitious belief and Taoism faith are also reflected in the frescos in Xi’ an Dong-yue Shrine.In addition,the fresco content was affected by worldly paintings in the Song Dynasty.The ordinary daily life affairs got attention in the frescos.Many judicial departments images showed not being tried in Yamen.but daily activities.As to the artistic characteristic feature,the composition combinations and orders,the landscape forms and wrinkling method are discussed in the thesis.更多还原