五代墓葬美术研究

【作者】 郑以墨；

【导师】 郑岩；

【作者基本信息】 中央美术学院 ， 美术学， 2009， 博士

【摘要】 五代的政治分裂使得墓葬的地域差异更为明显，此时的墓葬美术呈现出与唐代迥异的发展面貌。在五代墓葬系统的创建过程中，墓葬美术、地上绘画、佛教美术、建筑等不同系统之间的交流与碰撞变得异常频繁。本文将以五代墓葬为研究对象，旨在探讨其与其他图像系统之间的复杂关系。对五代墓葬的类型学分析意在勾勒其整体的发展面貌，并在此基础上选取三个典型案例，即王处直墓、王建墓和仿木建筑，三者分别指向同一个问题的不同方面。对王处直墓的分析主要关涉画工是如何用壁画表达某一特定观念的。其中包括画工对各种绘画题材、风格样式的选择、对诸多壁画的组织、对空间关系的处理等等，从中可看到画工对不同系统绘画的借鉴与再创造。对王建墓的探讨则试图勾画一座帝王陵墓的形成轨迹。文中首先讨论了该墓形制、布局及棺椁样式与以法门寺为代表之佛舍利瘞埋制度的关系，并在此基础上进一步分析棺床雕刻、十二半身像与佛教净士思想的关系、王建像与皇权的表达，兼及诸多图像所共同组成的意义体系。对上述问题的解答在某种程度上展示了佛教图像在墓葬中的转换与重组。对仿木建筑的分析将有助于揭示墓葬与地上建筑之间的特殊关系。其中涉及三方面的子问题；其一，从模仿的动机、形式、技术三个方面来分析仿木样式的来源；其二，工匠为了实现对地上木建筑的真实模仿而遵循的比例法则、观看法则以及处理不同建筑空间所采用的各种手段等；其二，解读该形式所蕴含的思想观念。更多还原

【Abstract】 The split of the Five Dynasties made the regional difference in the tombs even more obvious,therefore the tomb art were distinct from that of the Tang Dynasty.The establishing process of thetomb systems in the Five Dynasties witnessed the frequent communication and the shocksbetween the tomb art,the paintings on the ground,and Buddhist art and architectures.This thesis seeks to explore the complicated relationships between the tombs of Five Dynastiesand other image systems.Based on the typological analysis of the tombs of the Five Dynastieswhich intends to outline their general development,we select three typical cases,namely,tomb ofWang Chuzhi,tomb of Wang Jian and the pseudo-wood architecture,each representing thedifferent aspects of my topic.The analysis of the tomb of Wang Chuzhi is concerning how the painters convey one particularconception through mural paintings.The exploration of their choices of varied painting motivesand styles,the compositions and illustrations of the spaces indicates that they learnt and developedthe existing traditions from diversified paintings.The discussion on the tomb of Wang Jian displays the shaping history of an imperial mausoleum.We firstly expounds on the relationship between the form of the tomb,including tomb structure,the layout in the tomb and the pattern of the inner and outer coffins,and the bury system ofBuddhist relics with the Temple of Dharma Gate as a typical example.We then explore therelationship between the carvings on the coffin platform,busts of the twelve mansions and thepure-land concept of Buddhist,statue of Wang Jian and the symbolic system of imperial powerconsisting of a number of figures and the compound conception.These elaborations unveil thetransfer and the reconstruction of the Buddhist art in the tombs. The study of the pseudo-wood architecture helps to expose the relationship between the tombs andarchitectures on the ground.First,we trace the source of the pseudo-wood architecture from theimitation motivation,the forms and the technologies.Second,we analyze the varied skills adaptedby the constructors,such as conceptions of scale,rules of observation and arrangement of differentarchitecture spaces,which aim to imitate the wood-framed constructions on the ground.Third,weinterpret the concepts and ideas embodied by the pseudo-wood architecture.更多还原