宋代墓葬壁画探索

发布时间：2018-01-28 09:11

本文关键词： 宋代墓葬壁画分区和分期多元信仰　出处：《华中师范大学》2011年硕士论文　论文类型：学位论文

【摘要】：宋代被公认是继汉、唐以后墓葬壁画发展的又一个高峰时期,现已发现的壁画墓非常丰富,如果加上同时期曾与之并列的辽、金政权范围内的壁画墓,宋代壁画墓从数量上应远胜汉唐。这些壁画墓为我们提供了丰富而生动的墓葬壁画,它们不仅是美术史重要的一环,也是我们研究宋代社会史、思想史的形象材料。笔者在系统整理宋代壁画墓考古材料的基础之上,对这一时期的墓葬壁画研究尝试做一些新的探索。本文首先对宋代墓葬壁画的发现和研究做了较为详尽的介绍。在对宋代壁画墓分区和分期方面,本文主要是根据墓葬壁画的内涵划分的,这与其他依据墓葬形制、出土器物,或者是包含了砖雕、石刻等装饰的分区与分期研究有一定区别。同时笔者根据自己对资料的整理和分析,将宋代墓葬壁画分为6个区,即1.河南中部、西部及山东地区；2.河南北部及山西东部、南部地区；3.山西中部、河北地区；4.陕西、甘肃地区；5.福建地区；6.长江中游地区,以及4期7段,即：1.第一期(约北宋中前期),前段：大致相当于太祖至真宗年间、后段：大致相当于仁宗年间；2.第二期(约北宋后期),前段：大致相当于英宗至神宗年间、后段：大致相当于哲宗年间；3.第三期(约北宋晚期),前段：大致相当于徽宗年间、后段：大致相当于钦宗年间；4.第四期(南宋时期)。此外,对各区和各期的主要特点进行了论述。宋代墓葬壁画不仅发现的数量众多,而且和汉唐时期相比,有了一些新的变化,表现出了其时代特色。这一方面有历史传承的关系,宋代墓葬壁画是汉唐壁画墓发展的延续；另一方面也和宋代相对的经济繁荣,文化发达有关；此外还与宋代出现“厚丧薄葬”的现象有关。本文从历史的渊源关系,宋代经济文化的发展,以及丧葬观念的改变几个方面探讨了宋代墓葬壁画盛行,和出现变化的原因。最后,文章从思想史的角度探讨了儒释道对宋代墓葬壁画的影响。宋代是公认在思想史上出现三教合一趋势的重要时期,这一思想界的变化不仅反映在知识分子群体中,也对民间社会产生了重要的影响,并深入到了地下的世界。和反映士大夫阶层思想状况的文献材料相比,这些墓葬壁画更多的反映了民间信仰。笔者希望能从墓葬壁画中探索这一现象。
[Abstract]:Song Dynasty has been recognized as another peak period for the development of tomb murals after Han and Tang dynasties. The mural tombs found are very rich. If we add the murals in the scope of Liao and Jin regime which were juxtaposed with them in the same period. The mural tombs of the Song Dynasty should outnumber the Han and Tang dynasties. These mural tombs provide us with rich and vivid tomb murals, which are not only an important part of the history of fine arts, but also a study of the social history of the Song Dynasty. On the basis of systematically arranging the archaeological materials of the mural tombs of the Song Dynasty, the author tries to make some new explorations on the research of the tomb murals in this period. This paper first introduces the discovery and research of tomb murals in Song Dynasty in detail. In the division and division of the tomb of the Song Dynasty, this article is mainly based on the connotation of the tomb murals, which is based on the tomb shape, unearthed objects, or contains brick carvings. At the same time, the author divides the tomb murals of the Song Dynasty into six areas, I. E. the central, western and Shandong areas of Henan Province. 2. The north of Henan and the east and south of Shanxi; 3. Central Shanxi, Hebei; 4. Shaanxi, Gansu; 5. Fujian region; (6) the middle reaches of the Yangtze River, and the 4th stage 7, namely, the first stage (about the early Northern Song Dynasty), the front section: roughly equivalent to the period from Taizu to Zhenzong, and the latter: roughly equivalent to the Renzong period; 2. The second phase (about the late Northern Song Dynasty), the first paragraph: roughly equivalent to the period from Yingzong to Shenzong, and the latter: roughly equivalent to the period of philosophy; 3. The third period (about the late Northern Song Dynasty), the front paragraph: roughly equivalent to the Huizong years, the latter part: roughly equivalent to the imperial period; 4. Period 4th (Southern Song Dynasty). In addition, the main characteristics of each district and period are discussed. The tomb murals of the Song Dynasty not only found a large number, but also compared with the Han and Tang dynasties, there have been some new changes, showing its characteristics of the times. The tomb murals of the Song Dynasty are the continuation of the development of the murals' tombs in the Han and Tang dynasties. On the other hand, it is also related to the relative economic prosperity and cultural development of the Song Dynasty. In addition, it is related to the appearance of "thick funeral and thin burial" in Song Dynasty. This paper discusses the prevalence of tomb murals in Song Dynasty from the historical origin, the development of economy and culture in Song Dynasty, and the change of funeral concept. And the causes of change. Finally, the article discusses the influence of Confucianism, Buddhism and Taoism on the tomb murals in the Song Dynasty, which is recognized as an important period in the ideological history. This change in the ideological circle not only reflected in the intellectual community, but also had an important impact on civil society, and went deep into the underground world, and compared with the literature and materials reflecting the ideological status of the literati and officials class. These murals reflect more folk beliefs. The author hopes to explore this phenomenon from the murals of tombs.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：K878.8

【引证文献】