【作者】 郝明；

【导师】 范淑英；

【作者基本信息】 西安美术学院 ， 美术学， 2012， 硕士

【摘要】 龙被认为是中华民族的精神象征，一般认为其起源于新石器时代，至战国时期形象比较稳定，后来历代其含义逐渐丰富和系统化。隋唐时期处于魏晋南北朝三个多世纪的动荡和民族融合后，国家重新统一的阶段，随着时代的发展以及佛教的兴盛和诸多外来文化的影响，其龙纹动态虽然是继承汉代以来的传统，但人们对于龙的观念产生了一些新的因素。本文旨在通过对于隋唐龙纹装饰材料和文献两方面的分析，追究隋唐龙纹的形式渊源和在当时人们心中的含义。将隋唐龙纹进行分期研究，总结其发展规律。并且结合龙纹装饰所在情境，即龙纹装饰配置关系来分析其所具有的含义。发现龙虎配置均是继承汉代以来的四神观念，这种观念贯穿整个唐代并影响到后代。龙虎的朝向体现出顺时针方向、逆时针朝向和龙虎对称向前三种，在唐代墓室中表现出了墓志铭四神顺时针朝向和墓室壁画中四神逆时针朝向的矛盾性，这是因为墓室壁画四神所代表的地下四方与墓志中四神所代表的天上四方星宿的矛盾。双倒龙的配置源于东汉晚期到西晋，盛于北魏到北齐，在盛唐以后消失，多存在于佛教造像中。这种构图在唐代处于衰落和消逝的阶段，而从汉到唐的双龙构图中，经常是龙虎和双龙的观念含混不清的，佛教中所装饰这种倒龙纹是源于汉代的龙虎观念。其方向之所以呈倒悬状，取决于如何将向前奔走的双龙和竖立的主尊装饰在同一平面内，这就要求双龙的前方朝向主尊的上或下方，而北朝以来同一平面内所装饰四神多将代表前方的朱雀置于下方，也就说明这一时期流行将竖立的主尊下方与奔走的龙虎（双龙）的前方统一起来。另外，龙“秋分而潜渊，春分而登天”的性质和龙对人们的重要性赋予其与水的密切联系和以龙的各种状态比喻人事的文化现象。唐代笔记小说中多有将龙作为故事的角色参与故事情节的发展，这些描述多表露出外来文化影响的痕迹。更多还原

【Abstract】 The dragon being treated as the symbol of spirit of China, normally, it supposed thatit originate in Neolithic Age, till Warring States Period, the image of dragon becamestability, in history, the meaning became enrichment and systematic. After the turbulentand integration situation of Wei-Jin and the Northern and Southern Dynasties in threecenturies, Sui and Tang Dynasties situated in this period of the country re-unity, with thedevelopment of the times, the prosperity of Buddhism and the influence of many foreignculture, although the image of dragon inherit the tradition from Han Dynasties, peoplefind new factor in concept of dragon.This article aimed at the analyze of Sui and Tang dragon pattern in both decorativematerial and literature, in order to find the formal source and meaning in that period. Thearticle make a periodization research in Sui and Tang dragon pattern, and give a summaryof development rule. In the article, the writer analyze the situation of dragon pattern, italso means analyze the meaning of dragon pattern in using dispositional relation ofdragon pattern. Finding the dragon and tiger configuration inherit the Four Saints of HanDynasty, this concept penetrate the whole Tang Dynasty and influence offspring. Theorientation of dragon and tiger has three types, clockwise direction, counterclockwisedirection and symmetry-step forward, the coffin chamber of Tang Dynasty show thecontradiction between clockwise direction of Four Saints in epitaph andcounterclockwise direction of Four Saint in mural frescos, this contradiction alsoappeared in the four directions underground and four directions in the sky. Theconfiguration of double invert dragon is start from the late Eastern Han Dynasty to theWestern Jin Dynasty, it flourished from Northern Wei Dynasty to the Northern Qi Dynasty, and disappear after the prosperous Tang Dynasty, the double invert dragon oftenused in Buddhism statues. This image in the situation of decline and disappearance ofTang Dynasty, but in the image of double dragon from the Han Dynasty to the TangDynasty, its meaning didn’t make a clear in dragon-tiger and double-dragon, inBuddhism, the decoration of image of invert dragon is out of the dragon-tiger of HanDynasty. The direction of image is invert, because the running double dragon and uprightmain statue must in identical plane, as this reason, the front of double dragon must faceto the up or down of main statue, the image often make the legendary phoenix bird indown, this means this kind of image is very popular in period. Otherwise, the spirit ofdragon and the importance for people show the relationship in dragon and water, becauseof this the dragon appear with different kinds in metaphor the culture phenomenon. Inliterary sketches of the Tang Dynasty, the novel always use dragon image, and the imagewas influenced by foreign culture.更多还原