长清区孝堂山汉代石祠画像的内容及艺术风格研究
发布时间：2018-09-03 18:59
【摘要】：汉代画像石是西汉中期至东汉晚期将图像雕刻在墓阙、庙阙、地上祠堂、地下墓室等建筑上的构石,代表一种祭祀性的丧葬艺术。汉代的地上祠堂是建于墓旁的地面上建筑,主要是为礼仪性祭祀服务的,其建筑材料分为石质和木质,现今保存下来的祠堂皆为石质祠堂,而济南市长清区孝堂山石祠是我国目前保存最为完整且最早的地面上建筑,1961年被列为全国第一批重点文物保护单位。孝堂山石祠建于东汉早期,为一座单檐悬山顶两开间房屋,内壁、横梁均刻有精美的图案,根据其空间配置来看,其将人文世界为摹本,结合汉代人对地下世界的想象,创造了一个能够沟通两界的神圣空间,并体现了汉代人的宇宙世界观。孝堂山石祠画像,雕刻精美,人物造型古拙大气,构图饱满紧凑又生动有趣,代表了当时汉画像石的艺术水平,本文研究孝堂山石祠画像的内容与艺术风格,对研究汉代历史、社会生活、艺术审美、思想观念等具有重要的意义。本文将孝堂山石祠、嘉祥武梁祠、沂南汉墓以及济南周边出土的汉画像石的大量第一手田野调查资料,运用图像学、历史学、文献学、考古学、美术学等多学科交叉的方法进行研究。并通过运用艺术史学家潘诺夫斯基提出的图像学三层次论(描述、分析、解释)为基本理论依据,对孝堂山石祠画像进行深入研究,旨在解读图像的象征意义;在横向上与东汉时期济南附近、济宁嘉祥武梁祠、临沂沂南汉墓等地出土的汉画像石图像进行比较,旨在突显孝堂山石祠画像独特的艺术风格特征。本文依据图像学“三层次论”将主体部分分为三个部分:一、孝堂山石祠画像田野调查概述。通过田野调查资料,将石祠画像进行第一层次“自然意义”的解读;二、孝堂山石祠画像的艺术风格及其他地区汉画像石艺术风格比较。对图像的雕刻技法、人物造型语言、构图方式进行解析,对图像进行第二层次“常规意义”的解读,三、孝堂山画像的象征意义,体现的汉代人的思想观念。将对孝堂山石祠的象征意义进行解读,即对图像进行第三层次“文化意义”的解读。
[Abstract]:The stone relief of Han Dynasty is a kind of stone which is carved in the tomb que, temple que, ground ancestral hall, underground tomb room and so on from the middle period of the Western Han Dynasty to the late Eastern Han Dynasty. It represents a kind of sacrificial funeral art. The above ground ancestral halls of the Han Dynasty were built on the ground next to the tombs, mainly for ceremonial sacrificial services. The building materials were divided into stone and wood, and the ancestral halls preserved today were all stone ancestral halls. The Xiaotang Stone Temple in Changqing District of Jinan City is the most complete and earliest building on the ground in our country at present. It was listed as the first batch of key cultural relics conservation units in China in 1961. The Xiaotang Temple was built in the early Eastern Han Dynasty. It is a two-room house with a single eaves hanging from the top of the mountain. The inner wall and beam are engraved with exquisite patterns. According to its spatial configuration, it takes the humanistic world as a copy and combines the imagination of the people of the Han Dynasty to the underground world. It creates a sacred space which can communicate the two realms and embodies the universal world view of the Han Dynasty. The portraits of the Xiaotang Mountain and Stone Temple are beautifully carved, the characters are ancient and clumsy, and the composition is full, compact and lively, which represents the artistic level of the Han Dynasty. This paper studies the content and artistic style of the portrait of the Xiaotang Mountain and Stone Temple, and studies the history of the Han Dynasty. The social life, the art esthetic, the thought and so on has the important significance. In this paper, a large number of firsthand fieldwork data of Han stone sculptures unearthed in the Han Tomb of Yinan and the surrounding area of Jinan are collected from the Temple of Xiaotang, Jiaxiang Wuliang Temple, Jiaxiang Wuliang Temple, Jiaxiang Temple, Wuliang Temple, Jiaxiang Temple and Wuliang Temple. Arts and other cross-disciplinary methods of research. Based on the theory of three levels (description, analysis and explanation) put forward by art historian Pannowski, this paper makes a deep study on the portrait of Xiaotang Mountain and Stone Temple in order to interpret the symbolic meaning of the image. Horizontally compared with the Han Dynasty portrait images unearthed in Jinan Jining Jiaxiang Wuliang Temple Linyi South Han Tomb and so on in order to highlight the unique artistic style of the portrait of Xiaotang Mountain Stone Temple. This paper divides the main body into three parts according to the theory of three levels of imageology: first, the field survey of the portrait of Xiaotang Mountain and Stone Temple. Through field investigation, the author interprets the "natural meaning" of the first level of the stone temple portrait, and secondly, compares the artistic style of the Xiaotang mountain stone temple portrait with that of the Han stone portrait in other areas. This paper analyzes the engraving technique of the image, the language of character modeling, the way of composition, the interpretation of the second level of "the conventional meaning" of the image, and the symbolic meaning of the portrait of Xiaotangshan, which embodies the ideology of the people of the Han Dynasty. This paper interprets the symbolic meaning of Xiaotang Mountain and Stone Temple, that is, the third level "cultural meaning" of the image.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J314.3
本文编号：2220881
[Abstract]:The stone relief of Han Dynasty is a kind of stone which is carved in the tomb que, temple que, ground ancestral hall, underground tomb room and so on from the middle period of the Western Han Dynasty to the late Eastern Han Dynasty. It represents a kind of sacrificial funeral art. The above ground ancestral halls of the Han Dynasty were built on the ground next to the tombs, mainly for ceremonial sacrificial services. The building materials were divided into stone and wood, and the ancestral halls preserved today were all stone ancestral halls. The Xiaotang Stone Temple in Changqing District of Jinan City is the most complete and earliest building on the ground in our country at present. It was listed as the first batch of key cultural relics conservation units in China in 1961. The Xiaotang Temple was built in the early Eastern Han Dynasty. It is a two-room house with a single eaves hanging from the top of the mountain. The inner wall and beam are engraved with exquisite patterns. According to its spatial configuration, it takes the humanistic world as a copy and combines the imagination of the people of the Han Dynasty to the underground world. It creates a sacred space which can communicate the two realms and embodies the universal world view of the Han Dynasty. The portraits of the Xiaotang Mountain and Stone Temple are beautifully carved, the characters are ancient and clumsy, and the composition is full, compact and lively, which represents the artistic level of the Han Dynasty. This paper studies the content and artistic style of the portrait of the Xiaotang Mountain and Stone Temple, and studies the history of the Han Dynasty. The social life, the art esthetic, the thought and so on has the important significance. In this paper, a large number of firsthand fieldwork data of Han stone sculptures unearthed in the Han Tomb of Yinan and the surrounding area of Jinan are collected from the Temple of Xiaotang, Jiaxiang Wuliang Temple, Jiaxiang Wuliang Temple, Jiaxiang Temple, Wuliang Temple, Jiaxiang Temple and Wuliang Temple. Arts and other cross-disciplinary methods of research. Based on the theory of three levels (description, analysis and explanation) put forward by art historian Pannowski, this paper makes a deep study on the portrait of Xiaotang Mountain and Stone Temple in order to interpret the symbolic meaning of the image. Horizontally compared with the Han Dynasty portrait images unearthed in Jinan Jining Jiaxiang Wuliang Temple Linyi South Han Tomb and so on in order to highlight the unique artistic style of the portrait of Xiaotang Mountain Stone Temple. This paper divides the main body into three parts according to the theory of three levels of imageology: first, the field survey of the portrait of Xiaotang Mountain and Stone Temple. Through field investigation, the author interprets the "natural meaning" of the first level of the stone temple portrait, and secondly, compares the artistic style of the Xiaotang mountain stone temple portrait with that of the Han stone portrait in other areas. This paper analyzes the engraving technique of the image, the language of character modeling, the way of composition, the interpretation of the second level of "the conventional meaning" of the image, and the symbolic meaning of the portrait of Xiaotangshan, which embodies the ideology of the people of the Han Dynasty. This paper interprets the symbolic meaning of Xiaotang Mountain and Stone Temple, that is, the third level "cultural meaning" of the image.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J314.3
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